This article appraises the contributions of what has
been called cognitivism or the cognitive approach to
film studies, and suggests the means by which the cog-
nitive approach can become more central to film stud-
ies than it has been so far. The author first shows that
much of what has been called "cognitivist" film studies
is only cognitivist in a broad sense, and could just as
well be called "analytic." He then argues that the cogni-
tive approach would be most useful when it is thus
broadly applied, becoming then more a commitment
to the rationality of discourse and human thought than
a narrow project within psychology. The article then
goes on to appraise the utility of the cognitive approach in our understanding of the psychological
power of film and film aesthetics.
Traditionally, cognitive dissonance is seen as a post-purchase phenomenon. This study aims at investigating the applicability of cognitive dissonance to the pre-decision phase. The empirical part of ...