Author: Arthur P. Shimamura
Publisher: Oxford University Press
ISBN: 0199862133
Category : Performing Arts
Languages : en
Pages : 398
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Book Description
How do movies engage us so thoroughly, capturing our sensations, thoughts, and emotions? This edited volume introduces psychocinematics, which brings together film theorists, philosophers, psychologists, and neuroscientists to consider the viability of a scientific approach to our movie experience.
Author: Peter Kravanja
Publisher: Leuven University Press
ISBN: 9462700281
Category : Performing Arts
Languages : en
Pages : 383
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Book Description
The impact of the embodied cognition thesis on the scientific study of film The embodied cognition thesis claims that cognitive functions cannot be understood without making reference to the interactions between the brain, the body, and the environment. The meaning of abstract concepts is grounded in concrete experiences. This book is the first edited volume to explore the impact of the embodied cognition thesis on the scientific study of film. A team of scholars analyse the main aspects of film (narrative, style, music, sound, time, the viewer, emotion, perception, ethics, the frame, etc.) from an embodied perspective. By combining insights from various disciplines such as cognitive film theory, conceptual metaphor theory, and cognitive neuroscience, they show how the process of meaning-making in film is embodied and how empathy and embodied simulation play a role in understanding the way in which the viewer interacts with the film. Foreword by Mark Johnson, Knight Professor of Liberal Arts and Sciences, Department of Philosophy, University of Oregon. Contributors Warren Buckland (Oxford Brookes University), Juan Chattah (University of Miami), Maarten Coëgnarts (University of Antwerp), Adriano D’Aloia (Università Cattolica del Sacro Cuore, Milan), Michele Guerra (University of Parma), Miklós Kiss (University of Groningen), Peter Kravanja (KU Leuven), María J. Ortiz (University of Alicante), Mark S. Ward (University of Technology, Sydney), Hannah Chapelle Wojciehowski (University of Texas)
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Carl Plantinga
Publisher: Johns Hopkins University Press
ISBN: 9780801860119
Category : Performing Arts
Languages : en
Pages : 302
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Book Description
Passionate Views offers a new approach to our understanding of film and will be of interest to anyone fascinated by the emotional power of motion pictures and their relationship to the central concerns of our lives, as well as by the techniques filmmakers use to move an audience.
Author: Catalin Brylla
Publisher: Springer
ISBN: 3319903322
Category : Performing Arts
Languages : en
Pages : 348
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Book Description
This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos. Documentaries play an increasingly significant role in informing our cognitive and emotional understanding of today’s mass-mediated society, and this collection seeks to illuminate their production, exhibition, and reception. Taking an interdisciplinary approach, the essays draw on the latest research in film studies, the neurosciences, cultural studies, cognitive psychology, social psychology, and the philosophy of mind. With a foreword by documentary studies pioneer Bill Nichols and contributions from both theorists and practitioners, this volume firmly demonstrates that cognitive theory represents a valuable tool not only for film scholars but also for filmmakers and practice-led researchers.
Author: Joseph Anderson
Publisher: SIU Press
ISBN: 9780809321964
Category : Performing Arts
Languages : en
Pages : 220
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Book Description
Applying research findings from studies in visual perception, neurophysiology, cognitive psychology, developmental psychology, and anthropology, Joseph D. Anderson defines the complex interaction of motion pictures with the human mind and organizes the relationship between film and cognitive science. Anderson's primary argument is that motion picture viewers mentally process the projected images and sounds of a movie according to the same perceptual rules used in response to visual and aural stimuli in the world outside the theater. To process everyday events in the world, the human mind is equipped with capacities developed through millions of years of evolution. In this context, Anderson builds a metatheory influenced by the writings of J. J. and Eleanor Gibson and employs it to explore motion picture comprehension as a subset of general human comprehension and perception, focusing his ecological approach to film on the analysis of cinema's true substance: illusion. Anderson investigates how viewers, with their mental capacities designed for survival, respond to particular aspects of filmic structure--continuity, diegesis, character development, and narrative--and examines the ways in which rules of visual and aural processing are recognized and exploited by filmmakers. He uses Orson Welles's Citizen Kane to disassemble and redefine the contemporary concept of character identification; he addresses continuity in a shot-by-shot analysis of images from Casablanca; and he uses a wide range of research studies, such as Harry F. Harlow's work with infant rhesus monkeys, to describe how motion pictures become a substitute or surrogate reality for an audience. By examining the human capacity for play and the inherent potential for illusion, Anderson considers the reasons viewers find movies so enthralling, so emotionally powerful, and so remarkably real.
Author: Peter Turner
Publisher: Routledge
ISBN: 0429758138
Category : Performing Arts
Languages : en
Pages : 262
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Book Description
This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero Day This book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.
Author: Peter Wuss
Publisher: Cambridge Scholars Publishing
ISBN:
Category : Performing Arts
Languages : en
Pages : 402
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Book Description
Film provides experience potential. Contemporary cognitive psychology gives the opportunity to define this impact on the film spectatorsâ (TM) mind in regard to different aspects of cognition, imagination and emotion. Proceeding from these positions, this book considers a number of practical issues of cinematic narration with which filmmakers, theorists and cineastes are frequently confronted: What is storytelling, and how may we objectify the regularities to be found at work in different modes of narration in the fiction film, among them structural principles of â oeart-cinemaâ which are often experienced on a level beneath conscious reception? What is the role of the element of conflict in the process of narration, and what are the effects that the representation of conflict situations on the screen has on the viewersâ (TM) emotions? How can we define â oecinematic tensionâ and also â oesuspenseâ , and how does each influence the disposition of the audience? What constitutes a â oereality-effectâ in fiction films, and how can it vary in different modes of storytelling? How are a given protagonistsâ (TM) dreams, fantasies and play behaviour integrated both into the course of narrative events and into the development of the spectatorâ (TM)s imageries and ideas? And finally: How do film genres work on a psychological level? Providing a theoretical framework for further empirical research, the book outlines a differentiated model for analysing key devices of cinematic narration in view of their impact on the spectatorsâ (TM) mind.
Author: Warren Buckland
Publisher: Cambridge University Press
ISBN: 9780521037150
Category : Performing Arts
Languages : en
Pages : 188
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Book Description
In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. He examines and develops the work of "cognitive film semiotics," a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics. Presenting a survey of cognitive film semiotics, this study also reevaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward "post-theory" in film studies.
Author: Jeffrey M. Zacks
Publisher: Oxford University Press, USA
ISBN: 0199982872
Category : Performing Arts
Languages : en
Pages : 361
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Book Description
How is it that a patch of flickering light on a wall can produce experiences that engage our imaginations and can feel totally real? From the vertigo of a skydive to the emotional charge of an unexpected victory or defeat, movies give us some of our most vivid experiences and most lasting memories. They reshape our emotions and worldviews--but why? In Flicker, Jeff Zacks delves into the history of cinema and the latest research to explain what happens between your ears when you sit down in the theatre and the lights go out. Some of the questions Flicker answers: Why do we flinch when Rocky takes a punch in Sylvester Stallone's movies, duck when the jet careens towards the tower in Airplane, and tap our toes to the dance numbers in Chicago or Moulin Rouge? Why do so many of us cry at the movies? What's the difference between remembering what happened in a movie and what happened in real life--and can we always tell the difference? To answer these questions and more, Flicker gives us an engaging, fast-paced look at what happens in your head when you watch a movie.
