In order to answer these questions, we need, first of all, to specify what we mean by ‘perception’ and ‘imagination’ and how we distinguish them. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? Thus, after watching the film Alien (1979), one might say that one saw Ripley fighting the monster but one might also say that one imagined Ripley fighting the monster. On the other hand, as fiction, it invites us to imagine the story told. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. I argue that this thesis satisfies all the requirements.īoth perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. Thirdly, I propose a new thesis according to which the spectator of a fiction film imagines being a subject of a different kind, namely, a disembodied subject of experience who can perceive events that occur in a world in which that subject has no place. Secondly, I examine the main theses on the role of imagination and perception in film experience, arguing that none of them satisfies all the requirements. For this purpose, I first introduce four requirements for an account of film experience. This paper aims to figure out the experience that the verbs “to see” and “to imagine” characterize in such reports. Reporting one’s experience of the film Alien, one might say that one saw Warrant Officer Ellen Ripley fighting the monster, but one might also say that one imagined Ripley fighting the monster.
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