Midwest Studies in Philosophy 34 (1):280-294 (2010)
AbstractSome films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict.
Added to PP
Historical graph of downloads
References found in this work
The Ethical Criticism of Art.Berys Gaut - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press. pp. 182--203.
The Moral Psychology of Fiction.Gregory Currie - 1995 - Australasian Journal of Philosophy 73 (2):250 – 259.
Emotions, Fiction, and Cognitive Architecture.Aaron Meskin & Jonathan M. Weinberg - 2003 - British Journal of Aesthetics 43 (1):18-34.
Forbidden Knowledge: The Challenge of Immoralism.Matthew Kieran - 2003 - In Jose Luis Bermudez & Sebastian Gardner (eds.), Art and Morality. Routledge.
Citations of this work
Ambivalence for Cognitivists: A Lesson From Chrysippus?Bill Wringe - 2017 - Thought: A Journal of Philosophy 6 (1):147-156.
Similar books and articles
How to Defend Response Moralism.Allan Hazlett - 2009 - British Journal of Aesthetics 49 (3):241-255.
All the Right Responses: Fiction Films and Warranted Emotions.Jinhee Choi - 2003 - British Journal of Aesthetics 43 (3):308-321.
Feelings in Moral Conflict and the Hazards of Emotional Intelligence.David Carr - 2002 - Ethical Theory and Moral Practice 5 (1):3-21.
Perspectives in Imaginative Engagement with Fiction.Elisabeth Camp - 2017 - Philosophical Perspectives 31 (1):73-102.
Moving Because Pictures? Illusion and the Emotional Power of Film.Robert Hopkins - 2010 - Midwest Studies in Philosophy 34 (1):200-218.
Thoughts on the 'Paradox' of Fiction.Kathleen Stock - 2006 - Postgraduate Journal of Aesthetics 3 (2):59-65.
Film as Religious Experience: Myths and Models in Mass Entertainment.Alison Niemi - 2003 - Critical Review: A Journal of Politics and Society 15 (3-4):435-446.
Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.Torben Grodal - 1999 - Clarendon Press.
Emotional Self‐Awareness and Ethical Deliberation.Michael Lacewing - 2005 - Ratio 18 (1):65-81.