Film and the Transcendental Imagination: Kant and Hitchcock’s The Lady Vanishes

Abstract

Recently, in philosophical analyses of film, there has been much discussion of the imagination. Philosophers, such as Richard Allen, Gregory Curry and Murray Smith, all make use of a theory of the imagination to explain, in varying ways, our relation to the objects depicted in moving pictures projected onto a screen. These philosophical approaches tend to refer to findings from cognitive psychology and are often presented as alternatives to psychoanalytic approaches to film in which the film is supposed to be an ‘imaginary signifier’ that acts as the viewer’s unconscious.

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Cite this paper

@inproceedings{Zinkin2012FilmAT, title={Film and the Transcendental Imagination: Kant and Hitchcock’s The Lady Vanishes}, author={Melissa Zinkin and Andrey Tarkovsky and Richard H. Allen and Gregory Curry}, year={2012} }