Abstract

This chapter focuses on an explanation of the neglect of investigating and understanding emotional response to films. It argues that the kind of emotional experience a film offers is a proper target of ideological investigation. This chapter aims to suggest how emotions should be understood in ideological criticism. There is characterization of spectator emotion with a view toward conceptual clarification. This chapter examines two families of screen emotions: sentiment and sentimentality, and the emotions which accompany screen violence. Drawing on work in both cognitive science and recent philosophy of mind, the chapter argues that a cognitive approach to the emotions offers a way of taking the role of emotions more seriously than it has been taken in most contemporary film theory. The chapter's usage of ‘cognitivism’ is distinctive by virtue of its challenge to the traditional distinction between reason and passion.