TAILIEUCHUNG - REVUE DE THEORIE LIMAGE ET DU SON A JOURNAL OF THEORY ON IMAGE AND SOUND: CINEMA AND COGNITIVE PSYCHOLOGY

I will never forget the day my family got cut off from the Internet. I was hiding in my room as I usually did after school let out, holed up with a laptop I'd bought third-hand and that I nursed to health with parts from here and there and a lot of cursing and sweat. But that day, my little lappie was humming along, and I was humming with it, because I was about to take away Scot Colford's virginity. You know Scot Colford, of course. They've been watching him on telly and at the cinema since my mum was a girl, and he'd been dead. | David Bor dwell A Case for Cognitivism Or rather a case that the cognitive perspective can usefully guide research into various aspects of film. The literature on cognitivism in psychology philosophy social theory linguistics anthropology and even aesthetics has become so vast that no introduction can do justice to Indeed nobody can keep track of it. Already we have books on Aristotle as cognitivist Wedin 1988 and on Robert Frost s brain Holland 1988 . My purpose must then be narrow. 1 ask first what are some distinctive conceptual constructs and findings of the cognitive framework Secondly how might those help clarify some particular problems in film studies 2 This essay belongs to that grim genre of academic writing wherein Author A summarizes theoretical assertions made by Authors B c D and so on embellishing each with occasional commentary. The bibliography waves the reader toward those detailed arguments that in Author A s treatment invariably become sweeping and oversimplified due to limitations of time and space . I have tried to enliven these conventions by focusing not just on doctrine but on the particular assumptions and questions characteristic of the cognitive perspective. I have also tried to avoid another cliche the blithely sententious air that all problems are on the threshold of solution. And at the end I will attempt an innovation one sentence that renders this exposition unlike any earlier summary I know in the film-theory literature. As a summary that aims to introduce film scholars to a body of work this essay is unabashedly broad. In sketching what I shall call cognitive theory or the cognitive perspective or frame of reference I will link what would usually be called cognitive science with a wider body of inquiry resting or so it seems to me on significantly similar assumptions. The breadth of my delineation may however incline readers to take this perspective as another one of those Big Theories of Everything that we film scholars .

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