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    Imitation of Life: Cinema and the Moral Imagination.Jane Stadler - 2020 - Paragraph 43 (3):298-313.
    The influence of film's compelling images, characters and storylines has polarized perspectives on cinema and the moral imagination. Does film stimulate the audience's imagination and foster imitation in morally dangerous ways, or elicit ethical insight and empathy? Might the presentation of images on screen denude the capacity to conjure images in the mind's eye, or cultivate the imaginative capacity for moral vision as spectators attend to the plight of protagonists? Using Imitation of Life to interrogate paradoxical perspectives on the cinematic (...)
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  2.  17
    The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller's Hannibal.Jane Stadler - 2017 - Film-Philosophy 21 (3):410-427.
    The long-form television drama series Hannibal thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms (...)
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    Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics.Jane Stadler - 2008 - Continuum.
    The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents. This book questions how cinematic narratives relate to and affect ethical life.
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  4.  21
    Experiential Realism and Motion Pictures: A Neurophenomenological Approach.Jane Stadler - 2016 - Studia Phaenomenologica 16:439-465.
    This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights (...)
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