Cinéma et imaginaire social en venant de Ricœur

Authors

  • Samuel Lelièvre EHESS (Paris, France)

DOI:

https://doi.org/10.5195/errs.2014.259

Keywords:

Image, Social Imagination, Historicity, Emplotment, Cinematic Narrative, Representation

Abstract

Cinema can be considered a particularly relevant and instructive example of a discourse and practice that refer back to each of the three great domains of imagination identified by Ricœur—discourse, articulation between a theoretical level and a practical level, and the social imaginary. While the aim of this article is to focus on the third level, a more comprehensive approach to the ideas of cinematic narrative and social imagination, drawn from Ricœur, requires us to go through the other two levels again. It is particularly necessary to find the terms of a Ricœurian philosophy of imagination in the articulation between emplotment and representation, operative since Time and Narrative, and a later approach to the notion of cinematic narrative. A critical relationship to the social and political imaginary can eventually be found through cinema. But, it is a matter of understanding a transition from a critical stance inherited from the philosophical tradition to a critical movement internal to cinematic practices: while taking into account the notion of narrative, this critical movement can bring to the fore, in a new way, the notion of image, contributing to its reappraisal within a philosophy of imagination. The last section of the article is particularly interested in the special relationship between cinema and historicity.

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Published

2014-12-23

Issue

Vol. 5 No. 2 (2014)

Section

Articles

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