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 (...) imagination, this article develops an account of the moral imagination focusing on sensory, emotional and empathic aspects of the audience's imaginative relationship with screen characters and their innermost thoughts and feelings. (shrink)

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 (...) intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and... (shrink)

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.

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 (...) into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)