ABSTRACT
This chapter argues for a broad conception of cognition that incorporates bodily and affective processes, and pays particular attention of the place of affect within cognition. It demonstrates this in relation to film spectatorship, with discussions of "twofoldedness", cognitive frames, the various sorts of emotions spectators have while viewing, moods in film and their relation to cognition, and the cognitive nature of empathy. Cognition is the mental activities of gaining knowledge and understanding through thought, experience, and the senses, plus the results of such activities comprehension, intuition, insight, perception, and so on. The so-called cognitive film theorists themselves, though saddled with a name that seems so 1980s, are interested in much more than cognition narrowly conceived of as conscious thought. Cognition, properly conceived, includes affective components as well as "computational" activities, and cognition should not be held to be the opposite of or opposed to affect.
