Cinéma et imaginaire social en venant de Ricœur

• Published in: Études Ricoeuriennes Vol. 5; no. 2; pp. 81 - 104
• Main Author: Lelièvre, Samuel
• Format: Journal Article
• Language: English
• Published: University of Pittsburgh 23.12.2014; University Library System, University of Pittsburgh
• Subjects: Art and art history; History; Humanities and Social Sciences; Image, imaginaire social, historicité, mise en intrigue, récit filmique, représentation; Library and information sciences; Literature; Philosophy; Social Anthropology and ethnology
• ISSN: 2156-7808; 2156-7808
• DOI: 10.5195/errs.2014.259

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.