8½
What is the point of self-reflexivity? What is the value of artworks that, like Federico Fellini’s 8½, deliberately reveal their own fictionality? Some think reflexivity has no value at all, being just a symptom of modern skepticism; others that it is designed merely to inform us of something; a third group, more compellingly, that it does something for the writer, allowing her to take a distance from her own beliefs; and a fourth, even more interestingly, that it opens a space for pathos in an otherwise cynical world. Drawing on empirical psychology, this chapter suggests a fifth possibility: that reflexivity can help readers and viewers fine-tune a mental capacity, the capacity to hold two conflicting attitudes at the same time. It gives us practice at doubting what we believe and believing what we doubt, and by so doing it provides us with a cognitive workout, making us better at sustaining illusions we know to be false. What if the ideal is as much truth as one can stand, coupled with a handful of necessary illusions, at the same time as an awareness that they are exactly that? If so, we’d better start watching some movies like 8½.