Emotion in the Movies - FI577

Location Term Level Credits (ECTS) Current Convenor 2019-20
Canterbury
(version 2)
Autumn
View Timetable
6 30 (15)

Pre-requisites

FILM3130 Film Style
FILM3150 Film Theory or FILM3160 Film Histories

Restrictions

None

2019-20

Overview

This module explores the contribution made to the study of film, and related artforms such as still photography, music and multimedia, by the cluster of disciplines commonly put under the umbrella of 'cognitive theory.' Cognitive theory emerged in the 1950s with the groundbreaking linguistic research of Noam Chomsky, who demonstrated that linguistic competence depended on innate mental capacities, and that certain universal grammatical norms underlie and unify the variety of languages. Since then, research on a wide variety of aspects of human cognition has been undertaken, taking its cue from Chomsky – on emotion, visual and aural perception, metaphor, and narrative understanding, among many other areas. And since the 1980s, a distinct approach within film studies – cognitive film theory – has emerged, which sets the study of film within this context. The module examines the way in which cognitive film theorists have taken up and developed ideas from the wider tradition of cognitive research, and the debates and controversies that have subsequently arisen betweeen cognitive film theorists and exponents of other approaches to film.

Details

This module appears in:


Contact hours

Total contact hours: 60
Private study hours: 240
Total study hours: 300

Method of assessment

Essay 1 (2000 words) (30%)
Essay 2 (3000 words) (40%)
Seminar Presentation (1000 words) (20%)
Seminar Participation (10%)

Indicative reading

Bordwell, David. 1987. Narration in the Fiction Film. London: Routledge.
Currie, Greg. 2008. Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge University Press.
Dissanayake, Ellen. 1995. Homo Aestheticus: Where Art Comes From and Why. Seattle: University of Washington Press.
Plantinga, Carl and Greg M. Smith, 1999. Passionate Views: Film, Cognition and Emotion. Baltimore, MD: Johns Hopkins Press.
Robinson, Jennifer. 2007. Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Oxford: Clarendon Press.

See the library reading list for this module (Canterbury)

Learning outcomes

On successfully completing the module students will be able to:

- Demonstrate a firm grasp of a particular contemporary approach to film, usually labelled 'cognitive film theory'.
- Place this developing body of theory in historical context – both within film studies narrowly, but also within wider developments in psychology and the philosophy of mind since the second half of the 20th century.
- Demonstrate a familiarity with the precursors of the cognitive approach, including Hugo Munsterberg, Rudolf Arnheim, and the Russian Formalists.
- Understand the deep principles of the approach as these are drawn from the broader tradition of cognitive theory, beginning with the linguistic theory of Noam Chomsky.
- Trace the evolution of the cognitive tradition, towards a greater emphasis on embodiment, emotion, evolution and neuroscience, and the impact of these developments on cognitive film theory.
- Demonstrate an understanding of the debates between advocates of cognitivism and exponents of other approaches to the study of film.

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