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Romanticism and the Cognitive Science of Imagination:

EXPLORING EMOTION, IDENTITY, AND NATURE IN CONTEMPORARY SHORT FILMS

ACADEMIC ESSAY

AMÉLIE ZEELIE 221239

30 OCTOBER 2024

List of Figures

Figure 1 Screenshot from author’s 2023 short film, “The Overcoat,” showing Akakiy and his 2D collaged head.

Figure 2 Screenshot from author’s 2024 short film, “Big,” showing Klara entering a nostalgic space.

Figure 3 Screenshot from author’s 2024 short film, “Leonora,” showing Leonora Carrington cradling an injured horse.

Figure 4 Screenshot from author’s 2024 short film, “Leonora,” showing Leonora Carrington finally reconnecting with nature.

INTRODUCTION

Romanticism, a movement that emerged in the late 18th century, emphasises imagination, emotional depth, and individual subjectivity, often as a reaction to the industrialised modern world (Galitz, 2004). My creative work draws from Bruhn’s theory of Romanticism and the cognitive science of imagination (Bruhn, 2009, p. 543-564), particularly in three short films where I explore the intersection between personal emotion and the environments that shape character identity. Through production design, I blend my romanticised view of the world with the characters’ inner landscapes, creating visual expressions of their emotional states and struggles in an increasingly mechanised world (Heylighen, Cavallin, & Bianchin, 2009, p. 94-105).

DISCUSSION OF THEORY

The Romanticism movement defies a singular, universally accepted definition, as Romantic artists themselves debated its scope. It is associated with youth, simplicity, nature, and the human spirit, yet also with chaos, darkness, and mystery (What Is Romanticism?, 1966, p. 2-7). This multifaceted character led some to argue for multiple types of Romanticism; however, Sir Isaiah Berlin identified two central unifying ideas; firstly, that Romanticism critiques industrialization’s imposition on nature, which Berlin viewed as a threat to both the environment and human well-being (What Is Romanticism?, 1966, p. 2-7). Second, Romanticism sees the scientific worldview as contributing to a loss of spiritual connection and identity (What Is Romanticism?, 1966, p. 2-7). Thus, Romanticism is inherently critical of

the mechanised modern world, advocating instead for nature, individual expression, and emotional depth.

Bruhn expands on Romanticism by discussing how imagination is a defining characteristic of the movement, particularly through his work on the cognitive science of imagination (Bruhn, 2009, p. 543-564). He explains that imagination involves three core cognitive processes: creating unified images, organising sensory experiences in time and space, and restructuring these elements to form new configurations (Bruhn, 2009, p. 543-564). Imagination, therefore, is fundamental to human cognition, allowing individuals to draw on sensory impressions, create connections, and construct idealised representations (Bruhn, 2009, p. 543-564).

In my work, this theory supports a Romantic approach, inspiring the audience’s cognitive engagement by using evocative imagery that enables them to recall personal memories and interpret the themes within the films, encouraging individual connections and meaningmaking.

CRITICAL ANALYSIS OF EXAMPLES

Based on Nikolai Gogol’s short story (Gogol, 1985), “The Overcoat” follows Akakiy Akakievich’s quest for acceptance within a stratified society. This quest begins with his need to replace his threadbare coat before winter and spirals into an obsession with wealth and status, leading to his dehumanisation and eventual death. The film, like the original text, explores themes of class disparity, ambition, and the oppressive impact of societal norms. Through production design, “The Overcoat” applies a Romantic critique of modernity, illustrating how individuals are reduced to mechanical roles in a rigid, communist-like society. The focus is thus placed on the inequality and the “seduction” and manipulation exerted by those in higher power over people of Akakiy’s status and class. Mixed media collages symbolise his loss of identity as he struggles to conform to a mechanical existence that contradicts his natural body (represented

by his collaged head seen in Figure 1). This fragmented aesthetic aligns with Bruhn’s theory of imagination by engaging the audience’s cognitive response to collage, puppetry, and dehumanised movements, encouraging viewers to experience unease and empathy (Bruhn, 2009, p. 543-564).

Akakiy Akakievich reflects both the stagnation and inefficiency of bureaucracy, while also being deeply impacted by its oppressive nature (The Overcoat by Nikolai Gogol, n.d.). Thus, the mask he wears in this short film embodies this aspect of the character. As his copying job overpowers his life, so the mask is collaged, smothering his individuality and made up of disparate elements that are not true to him. Every character in this universe, aside from Akakiy, is reduced to only their hands, showing how those who follow social norms lose their individuality and almost become one and the same. The fact that these hands are gloved also communicates their higher social class. This class-based superiority allows them to act as puppeteers, controlling and manipulating Akakiy’s life without concern for the consequences. In “The Overcoat” (Figure 1), this approach critiques the modern world, portraying a society where humans are reduced to machinery within a communist city lifestyle. The short film highlights the dangers and unnaturalness of this way of life, ultimately leading to the protagonist’s downfall and death. In this way, “The Overcoat” (Figure 1) critiques the alienation resulting from industrialization, presenting a society where humanity is sacrificed to mechanised conformity.

Though Romanticism is often criticised as naive and immature (Austin, 2003, p. 75-98), my short film “Big” (Figure 2) utilises its themes to explore the protagonist’s forced rejection of a passionate, imaginative worldview in favour of a mechanical, oppressive one. This film acts as a metaphor for the transition from childhood to adolescence. It portrays the extraordinary quality of a typical childhood—one that is best described as a sense of unrealized potential— contained inside the adult’s range of perception and memory (Austin, 2003, p. 75-98). As seen

Screenshot from author’s 2023 short film, “The Overcoat,” showing Akakiy and his 2D collaged head.

Note: Amélie Zeelie (dir), 2023.

FIGURE

in Figure 2, the space is quite abstract, and by using set dressing elements that represent my own childhood as well as a saturated colour scheme that gives the illusion of a magical glow, I hope to conjure up the audience’s memories of their own childhoods, creating a sense of nostalgia.

Currently in production, the final screening is planned in a dark, vacant room with the audience observing through an adjacent doorway, underscoring the liminality of the transition to adulthood and symbolising the mind’s inner landscape. In the film, the projected imagery resembles a distant memory, softly illuminating the room on white fabric fluttering in a slight breeze, emphasising the fleeting nature of childhood memories. As the film progresses and the projector dims, gradually damaging the film, the audience is left in silence and darkness. This deliberate use of machinery represents technology’s role in eroding a youthful perspective on the world. The abstract setting, infused with elements from my childhood and a saturated, magical glow, aims to evoke memories of early wonder, mirroring Romanticism’s value of youthful imagination. The spatial design, including the dimming projector casting images on white fabric, symbolises how technological influences gradually erode the protagonist’s youthful perception, a reflection of modernity’s impact on innocence. This nostalgic design connects with Bruhn’s theory of imagination, activating subconscious memories and encouraging viewers to layer their own associations onto the narrative, thereby creating personal meaning (Bruhn, 2009, p. 543-564).

In my short film, “Leonora” (Figure 3), I delve into the life of Surrealist artist Leonora Carrington, whose defiance of Britain’s rigid social norms of the 1920’s led her to seek a life rooted in nature and free from societal constraints. Carrington’s journey, marked by her efforts to escape from upper-class expectations, reflects Romanticism’s celebration of nature as an expression of freedom and self-realisation. Leonora’s view that society’s materialism disconnects individuals from their authentic selves aligns with Romantic critiques of modernity’s influence

FIGURE 02

Screenshot from author’s 2024 short film, “Big,” showing Klara entering a nostalgic space.

Note: Amélie Zeelie (dir), 2024.

on the human spirit. In the film, green elements signify her entrapment within patriarchal expectations, with the green candlestick as a symbol of societal forces that attempt to shape her identity. The arrow in the horse’s neck - a wax-like form with a blood wound resembling a candle flame - mirrors a similar wound on Leonora’s neck (Figure 3), connecting her identity with that of the horse, which becomes a symbol of her yearning for freedom and union with nature. This connection represents the Romantic ideal of the self’s bond with nature as a means of inner liberation.

In the film’s final scene, Leonora’s return to nature is depicted through symbolic imagery: her hair, once controlled by societal beauty standards (Figure 3), becomes free (Figure 4), signalling her self-possession. She appears rooted in the earth, with flowers in her hair signifying her integration with the natural world. This juxtaposition of modern society’s rejection of nature with the positive transformation achieved through reconnection conveys the Romantic notion that true freedom and identity are realised through harmony with the natural world. The film uses minimalist backdrops, relying on prop placement and sound to convey emotional states. For instance, shadows of tree leaves, warm tones, and birdsong in Figure 4 evoke nostalgic memories of nature and create a sense of calm for the viewer, while previous scenes utilise plain backgrounds, cooler tones, and imagery of violence (Figure 3) to highlight Leonora’s psychological imprisonment. This progression invites the audience to actively engage their imaginations, following Bruhn’s theory of cognitive processes, to derive personal meaning and emotional resonance from the film’s symbolic elements (Bruhn, 2009, p. 543-564).

CONCLUSION

I explore the concept of imagination and the audience’s capacity to envision, as a means of creating meaning and interpreting the world they observe. This world exists solely to convey

FIGURE 03

Screenshot from author’s 2024 short film, “Leonora,” showing Leonora Carrington cradling an injured horse.

Note: Amélie Zeelie (dir), 2024.

Screenshot from author’s 2024 short film, “Leonora,” showing Leonora Carrington finally reconnecting with nature.

Note: Amélie Zeelie (dir), 2024.

FIGURE 04

specific ideas and connect with particular imagery and emotions. In doing so, it enables the audience to draw upon their own memories and experiences, allowing them to generate personal interpretations and meanings (Bruhn, 2009, p. 543-564). My short films reflect Romanticism’s deep connection to emotion, imagination, and the human struggle against industrialization. In “The Overcoat,” the protagonist’s failure to navigate a dehumanising, mechanical society echoes the Romantic critique of modernity, while “Big” evokes a nostalgic longing for childhood innocence lost to the entering of an unknown world, and “Leonora” depicts the freedom found in nature as a path to self-realisation. Through these narratives, I apply a Romantic lens to contemporary issues, blending personal interpretation with the characters’ experiences, and highlighting Romanticism’s focus on emotion and subjectivity.

REFERENCES

Austin, L. M. (2003). Children of Childhood: Nostalgia and the Romantic Legacy. Studies in Romanticism, 42(1), 75-98. Retrieved September 28, 2024, from https://www.jstor.org/ stable/25601604

Bruhn, M. J. (2009). Romanticism and the Cognitive Science of Imagination. Studies in Romanticism, 48(4), 543-564. Retrieved October 4, 2024, from https://www.jstor.org/ stable/27867292

Galitz, Kathryn Calley. “Romanticism.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/roma/hd_roma. htm (October 2004)

Gogol, N. (1985). The Complete Tales of Nikolai Gogol (Vol. 2). (L. J. Kent, Ed., & C. Garnett, Trans.) The University of Chicago Press.

Heylighen, A., Cavallin, H., & Bianchin, M. (2009). Design in Mind. Design Issues, 25(1), 94–105. http://www.jstor.org/stable/20627796

The Overcoat by Nikolai Gogol. (n.d.). Retrieved September 25, 2023, from LitCharts: https:// www.litcharts.com/lit/the-overcoat/themes/bureaucracy-and-selfhood

What Is Romanticism? (1966, January). Bulletin of the American Academy of Arts and Sciences, 19(4), 2-7. doi:https://doi.org/10.2307/3822814