Contents -- Preface -- 1 Film as an art -- Scruton: Against film as an art -- Responding to Scruton -- Arnheim: The limitations of film make it an art -- A contemporary view: The extra capacities of film make it an art -- Conclusions -- 2 Realism -- Bazin: The film image is the object -- Walton: The film image is transparent -- Walton's critics: The film image is not transparent -- Currie: The film image is highly depictive -- Does the film image really move? -- Conclusions -- 3 Authorship -- Who is the cinematic author? -- Do films have authors? -- Author-based film criticism -- Conclusions -- 4 The language of film -- Film, language and montage -- Film semiotics -- Let's face it: Film is not a language! -- Conclusions -- 5 Narration in the fiction film -- Must narrative films always have narrators? -- What is it for a film's narration to be unreliable? -- Two-track unreliability -- Global unreliability -- How do films support narrative comprehension? -- Conclusions -- 6 The thinking viewer -- Narrative comprehension -- Interpretation -- Evaluation -- Conclusions -- 7 The feeling film viewer -- Making sense of our feelings for (film) fictions -- The paradox of fiction -- The paradox of horror -- Identification and empathy -- Psychoanalytic identification -- Imaginative identification -- Empathetic identification -- Film form and feeling -- Conclusions -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- P -- R -- S -- T -- W -- Y.