It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the skeptics doubts.

Cognitive film theory is reckoned a powerful and distinctive, if minority position in film studies. What does it say? Argues that Bordwell's constructivism about meaning and his account of perception are not essential components of the project, which is better characterized by commitment to theses calls rationalism and realism, and by a presumption in favour of folk psychology. Cognitivists — who might be better called rationalists — should not be too cognitive, especially in matters of perception.

Amy Coplan argues that recent work in the philosophy of the emotions suggests that film is more effective that literature in inducing non-cognitive affect. Derek Matravers replies to this, and suggests reasons for scepticism.

In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory to film, television, and video games in order to analyze the (...) embodied aesthetics and meanings of those moving images. (shrink)

Contemporary Complex Cinema. Complex conditions: the resurgence of narrative complexity ; Complex cinema as brain-candy for the empowered viewer ; Narrative taxonomies: simple, complex, puzzle plots -- Cognitive Approach to Contemporary Complex Cinema. Why an (embodied-)cognitive approach? ; Various forms of complexity and their effects on sense making ; Problematizing narrative linearity ; Complicating narrative structures and ontologies ; Under-stimulation and cognitive overload ; Contradictions and unreliabilities ; A cognitive approach to classifying complexity ; Deceptive unreliability and the twist (...) class='Hi'>film ; Disorienting but solvable puzzle films ; Impossible puzzle films -- Narrative Complexity and Dissonant Cognitions. The concept of cognitive dissonance ; Cognitions in dissonance: from social psychology to narrative engagement ; Types of dissonance in narrative comprehension ; Narrative incongruities ; Narrative impossibilities ; Cognitive access to impossible storyworlds: immersed and reflected operations ; 'Impossibilities' and embodied cognition ; Disrupting viewers' reliance on image schemas by perceptual impossibility ; Disrupting viewers' reliance on image schemas by formal impossibility -- Taming Dissonance: Cognitive Operations and Interpretive Strategies. Cognitive dissonance versus narrative coherence ; Reducing dissonance: interpretation and naturalization ; Foregrounding ; Narrating agency and authorship ; Artefact emotions and metareflexive appreciation ; Interpretation as dissonance reduction ; Coping with dissonance: frame-switches and poetic and aesthetic readings ; Frame-switching as hermeneutic play in impossible puzzle films ; Switching between narrative and symbolical readings: Enemy and Mulholland Drive ; Cognitive hesitation and the fantastic -- Impossible Puzzle Films: Between Art-Cinema and (Post-) Classical Narration. From art-cinema to puzzle films ; Art-cinema as a narrative mode ; Dissonance in modernist art-cinema ; Art-cinema as a cognitive reception frame ; Narrative complexity and meaning-making in art-cinema ; Impossible puzzle films and (post-)classical narration ; High degree of tellability ; Identification with goal-oriented characters ; Strong reliance on classical genre elements ; Adherence to classical narrative cohesion devices ; Inclusion of quasi-rational frames of naturalization -- Wallowing in Dissonance: The Attractiveness of Impossible Puzzles. Hermeneutic play and interpretive multiplicity ; Orientation, navigation, mapping ; Game logic and the fascination in failure ; Effort justification ; Diegetization of decoupling ; Fascination in infinity ; Destabilized ontological certainty ; Eudaimonic motivations and intrinsic needs. (shrink)

To further develop three-dimensional (3D) applications, it is important to elucidate the negative effects of 3D applications on the human body and mind. Thus, this study investigated differences in the effects of visual fatigue on cognition and brain activity using visual and auditory tasks induced by watching a 1-h movie in two dimensions (2D) and 3D. Eighteen young men participated in this study. Two conditions were randomly performed for each participant on different days, namely, watching the 1-h movie on (...) television in 2D (control condition) and 3D (3D condition). Before and after watching the 1-h movie on television, critical flicker fusion frequency (CFF: an index of visual fatigue), and response accuracy and reaction time for the cognitive tasks were determined. Brain activity during the cognitive tasks was evaluated using a multi-channel near-infrared spectroscopy system. In contrast to the control condition, the decreased CFF, and the lengthened reaction time and the decreased activity around the right primary somatosensory cortex during Go/NoGo blocks in the visual task at post-viewing in the 3D condition were significant, with significant repeated measures correlations among them. Meanwhile, in the auditory task, the changes in cognitive performance and brain activity during the Go/NoGo blocks were not significant in the 3D condition. These results suggest that the failure or delay in the transmission of visual information to the primary somatosensory cortex due to visual fatigue induced by watching a 3D movie reduced the brain activity around the primary somatosensory cortex, resulting in poor cognitive performance for the visual task. This suggests that performing tasks that require visual information, such as running in the dark or driving a car, immediately after using a 3D application, may create unexpected risks in our lives. Thus, the findings of this study will help outlining precautions for the use of 3D applications. (shrink)

In the classical view of emotion, the basic emotions (anger, disgust, fear, joy, sadness, and surprise) are assumed to be natural kinds that are perceiver-independent. Correspondingly, each is thought to possess a distinct neural and physiological signature, accompanied by an expression that is universally recognized despite differences in culture, era, and language. An alternative, the theory of constructed emotion, emphasizes that, while the underlying interoceptive sensations are biological, emotional concepts are learned, socially constructed categories, characterized by many-to-many relationships among diverse (...) brain states, physiological signs, facial movements, and their emotional meanings. This biocultural view permits a greater degree of cultural-historical specificity when interpreting the emotions of others. In this article, I consider the implications of the theory of constructed emotion for cognitive film theory, especially regarding the interpretation of depicted facial expressions of emotion as one aspect of cinematic expression. Particular attention is given to recent work revisiting the Kuleshov effect, in which the meaning of a character’s facial expression is thought to change in the context of a montage. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A (...) general theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

“The journey (the [filmic] narrative) is made by the traveler (the viewer) step by step, pebble by pebble, cue by cue.”Flashbacks in Film: A Cognitive and Multimodal Analysis is devoted to explaini...

Arguments about the effects of repeated exposure to a suspenseful narrative raise controversial disputes over the paradox of suspense. The lexical meaning and theoretical analyses of suspense imply that suspense cannot be experienced repeatedly because, in such cases, the knowledge from prior viewings and the resolution of outcome will eliminate tension and suspense. However, previous studies have argued that suspense can be re-experienced even when the participants know the outcome or repeatedly confront a suspenseful narrative. This study investigated the effects (...) of repeated exposure to a suspenseful film by collecting self-reported questionnaires and measuring psychophysiological responses. The participants (N = 50) watched clips of a suspenseful film three times and answered self-reported items regarding suspense, arousal, and enjoyment. Psychophysiological data, including skin conductance level (SCL) and electrocardiogram (ECG), were collected while the participants watched the video clips. It was hypothesized that self-reported suspense, arousal, and enjoyment as well as the physiological indices of arousal (SCL) and attention (ECG) would decrease upon repeated viewing of suspenseful clips. Furthermore, it was postulated that there would be inter-group differences depending on the awareness of potential or definite change in outcome at the end of repeatedly shown suspenseful events. The results showed that self-reported suspense and arousal, as well as physiological measures of SCL, declined with repeated exposure, although there were no significant differences on self-reported enjoyment. No group difference was found in self-reported items, but meaningful significant changes were observed in the group comparison of SCL and ECG. The findings suggest that repeated exposure to suspenseful films could result in affective habituation or desensitization to repeated stimuli. The implications and limitations of the current study and suggestions for future research are discussed. (shrink)

Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s (...) The Empathic Screen, which buttresses embod­ied simulation by film viewers experimentally by demonstrating the workings of “mirror neurons.” The review ends by discussing how these two books tie in with other develop­ments in the study of gene-culture coevolution. (shrink)

Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative (...) Gestalt genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. (shrink)

Empathy is a major aspect of the interplay between filmmaking and reception. Philosophers and neuroscientists have asserted how film’s technical and conceptual devices seemingly simulate the streamings of consciousness by rendering through images the very processes of thought. More recently, in a noteworthy collaborative work between neuroscience and film theory, Vittorio Gallese and Michele Guerra (2020) have observed how the process of “embodied simulation” is at the basis of empathy, making possible intense and diversified experiences of space, objects (...) and other individuals, and offering an important contribution to the study of how films are experienced and co-created by viewers. Drawing on these arguments from neuroscience, philosophy and film theory, in this paper I explore a renewed relationship between empathy and film aesthetics. (shrink)

This chapter is a manifesto of the film theory of Gregory Currie. He thinks that his work brings a connection between film and cognitive psychology. The chapter begins with a glimpse of an ideal theoretical structure and his opinion on the philosophical background against the manifesto itself. Then the theses and the arguments on film theory and the philosophy of film, moving pictures, convention, intention, and genre, and the viewer is laid out. The description includes an (...) outline of what he thinks is the ideal abstract structure for the film theory. He hoped that by doing this, he would contribute to the exemplification of the structure. The manifesto aims to promote the following: open criticism from the outside, struggle for inner coherence, comprehensiveness, and intuitive judgment. It is evident that his work is in a top-down mode which is why it is called a nervous manifesto. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

_Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" (...) on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, _Film Worlds_ extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. (shrink)

The paper discusses the issue of interpersonal understanding by comparing ordinary and cinematographic experience. Recent theories of interpersonal understanding turn out to be either inconclusive or insufficient to account for the heterogeneous ways in which we get mental and emotional states of other persons. The paper advances a view of the film medium by drawing on Stanley Cavell, which is reinforced by Wittgenstein’s and Merleau-Ponty’s convergent accounts of cinematographic perception. Against this background, interpersonal understanding turns out to be permeated (...) by the expressivity of human appearance – an aspect easily overlooked by the mentioned theories, which is yet brought forward most perspicuously by cinema. (shrink)

Culture and cognition work together dynamically every time a spectator interprets meaning during a performance. In this study, Bruce McConachie examines the biocultural basis of all performance, from its origins and the cognitive processes that facilitate it, to what keeps us coming back for more. To effect this major reorientation, McConachie works within the scientific paradigm of enaction, which explains all human activities, including performances, as the interactions of mental, bodily, and ecological networks. He goes on to use our (...) biocultural proclivity for altruism, as revealed in performance, to explore our species' gradual ethical progress on such matters as the changing norms of religious sacrifice, slavery, and LGBT rights. Along the way, the book engages with a wide range of performances, including Richard Pryor's stand-up, the film Titanic, aerialist performances, American football, and the stage and film versions of A Streetcar Named Desire. (shrink)

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: (...) there is no single answer to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

How does the mind lend itself to artistic creation and appreciation? How should we study minds and arts in ways that transform our understanding of both? This book examines the concepts of art and cognition from the complementary perspectives of philosophy, the empirical sciences, and the humanities. Central chapters combine examples of visual art, music, literature, and film with the properties of cognition that they illuminate, including 4E cognition, predictive processing, and theories of affect and emotion. (...) These aspects of cognition are undergoing theoretical shifts that complicate established understandings of the mind and its encounter with the arts. As the book takes stock of recent developments in aesthetics that have incorporated empirical findings (Naturalized Aesthetics), it also envisions a new generation of cognitive science with robust ties to history and literature (the Cognitive Humanities). In this way, Cognition and the Arts can be seen as a model of interdisciplinary scholarship. (shrink)

This article is about a relationship between the Socratic practice of philosophy and the aesthetic practice of watching and appreciating film. The conclusion that I defend is that certain narrative films, like the elenctic method in the hands of Socrates, are philosophical tools for examining our cognitive and emotional life and thus for gaining insight into aspects of our character. In the early sections of the article I construct an analogy between the practice of watching narrative film and (...) the practice of self-examination through dialogue and reflection. I argue that good aesthetic practice in film appreciation is analogous to good philosophical practice in the manner of Socrates, and I treat the elenchus as a method of self-examination rather than of conceptual analysis and Socrates himself as an examiner of people rather than of abstract concepts. In the later sections I discuss three films directed by Christopher Nolan—Memento, The Prestige, and Inception —as paradigm cases of Socratic film. I argue that these films show us something about ourselves by prompting extemporaneous emotional responses and cognitive judgments that we come, reflectively, to reject. (shrink)

In many films, story is presented in an order different from chronological. Deviations from the chronological order in a narrative are called anachronies. Narratological theory and the evidence from psychological experiments indicate that anachronies allow stories to be more interesting, as the non-chronological order evokes curiosity in viewers. In this paper we investigate the historical dynamics in the use of anachronies in film. Particularly, we follow the cultural attraction theory that suggests that, given certain conditions, cultural evolution should conform (...) to our cognitive preferences. We study this on a corpus of 80 most popular mystery films released in 1970–2009. We observe that anachronies have become used more frequently, and in a greater proportion of films. We also find that films that made substantial use of anachronies, on average, distributed the anachronies evenly along film length, while the films that made little use of anachronies placed them near the beginning and end. We argue that this can reflect a functional difference between these two types of using anachronies. The paper adds further support to the argument that popular culture may be influenced to a significant degree by our cognitive biases. (shrink)

Films involving Artificial Intelligence often miss the disembodied nature of consciousness and promulgate an erroneous conceptualization of mind. This article explores agency, Spinoza's "conatus," and its neuro-chemical foundations in light of films like: "2001: A Space Oddity," "After Yang," "Upgrade," "Ex Machina," and more.

The paper aims to give a comprehensive cognitive and semiotic analysis of translation strategies implied in the translation of the film “Darkest Hour”. Regarding a film as a communicative process mediated by certain semiotic features makes it possible to analyze the semiotic character of film discourse in translation. Thus, it was decided that translation is not just a speech-oriented process but a communicative act taking place within a definite semiotic space in a cross-cultural perspective. The semiotic model (...) of cinematic discourse has a complicated structure and is analyzed based on semantic, syntactic, and pragmatic criteria. The choice of the semiotic system primarily depends on the communicative situation and its recipients. As the semiotic system of the film “Darkest Hour” is both socioculturally and situationally conditioned, the translator reconstructed the sense of the source language text by implying the translation transformations that assured the accuracy and adequacy of its translation into the target language text. (shrink)

Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision to (...) watch horror, why people enjoy horror, how individual differences influence responses to, and preference for, hor-ror film, how exposure to horror film changes behaviour, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how lik-ing for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s re-sponses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference but this relationship is not consistent; (3) men and boys prefer to watch, enjoy and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli whereas older children become afraid of concrete or realistic stimuli; (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature are identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.1 (2006) 104-110 [Access article in PDF] Film Studies, the Moving Image, and Noël Carroll Edward Sankowski Department of Philosophy University of Oklahoma Engaging the Moving Image, by Noël Carroll. New Haven, CT: Yale University Press, 2003, 420 pp., $45.00 hardcover. Noël Carroll is the leading writer today about philosophy and film studies among those with an Anglo-American analytic philosophy emphasis. He (...) needs to be read in a larger intellectual context also, as a leading interdisciplinary writer about film. On the positive side, he has expanded the resources of Anglo-American analytic philosophy (and has at the same time contributed work of distinction to scholarship in related areas). He profits from the virtues of analytic philosophy as well as putting to good use his broad acquaintance with other scholarship. He is refreshingly innovative, sometimes operating with valuable results beyond the current conventional borders of the discipline of philosophy in his choice of topics about film (or better, in his view, about the moving image). A collection of his essays written in the second half of the 1990s, Engaging the Moving Image, is thus very welcome. It is fascinating and often persuasive reading.The essays take up a wide range of topics, including (but not limited to) critiques of, and constructive proposals about, film studies. Carroll especially criticizes film studies writing that focuses on "the film medium." "Forget the Medium!" he urges, in the first essay. This is associated for him with attacks on "mediumistic essentialism" (xiii). Indeed, for him the criticism of essentialism is a favorite theme. Many other overlapping topics of great interest are also explored in Carroll's approach. These include the "naturalistic" study of film communication, horror films, film evaluation, the criticism of (Continental) "Big Theory" in film studies, the nature of documentaries, "moving-picture dance," the relationship between TV and film, Siegfried Kracauer on film, Eisenstein on nation building, the political subtext of American Westerns with plots involving Mexican revolutions, and "prospects for film theory," which are discussed in a lengthy concluding piece.While Carroll is characteristically often on the attack, and seems to relish polemics, he is far from predominantly a negative, critical critic. He often formulates fruitful questions for constructive inquiry in a characteristically [End Page 104] clear and reasonable way. He is, however, perhaps not at his strongest in these essays in furthering discussions of what is arguably most moving about "moving images." By this is meant the aesthetic and emotional heights and depths of what films can offer, as art or in other ways. But what he says about movies is sensible, carefully done, and repays repeated study. (One example is Carroll's instructive "cognitively oriented" discussion of emotions in "Film, Emotion, and Genre.")Greatness in film, as in other arts, sometimes makes it more difficult to be reasonable. Carroll's account of evaluation, "Introducing Film Evaluation," notably has a self-avowedly limited scope. That account, as Carroll says, focuses on "evaluating films in terms of whether they are good, bad, better or worse specimens of a kind or category." He writes that "We may also wish to evaluate genres" (162). But beyond genres, the greatness of some films seems well beyond the comparative evaluation of genres. While Carroll writes that his account of evaluation is only introductory and abbreviated, it nonetheless also seems too driven by the desire to emphasize the possibility of agreement about evaluation and to counter radical skeptical worries rather than to understand why evaluation of the very good or great film might matter to us beyond fixing the captured butterfly in its place by assigning a film to a genre.Carroll has seen a lot of movies and read a lot of film theory and other writing about film or the moving image. Some of the theory is awful, in his view, but some of it he considers valuable, and what he claims is plausible on both scores. Carroll thinks and writes incisively about many topics. He is eclectic on principle, but eschews obscurity and pretension. What emerges... (shrink)

Introduction. The intensity of the visual media influence in the format of films and TV series on cultural life, reaching its peak in the era of streaming television, poses the task for the humanities to study the visual type of thinking, visual consciousness, which is different from the classical visualization of verbal thinking in the plastic arts. If a researcher intends to derive from a film or TV series, a value system, a cognitive strategy that is relevant for its (...) time, the visual environment may turn out to be no less eloquent for him than the dramatic action taking place in it. The character and quality of this environment are made up of many sensory elements: light, color, movement and its choreography, sound, space, subject referents, etc. Taken together, they represent not so much an articulation of the author’s thought, but a way of specifically visually thinking through this thought. The complex structure of visual-mental environments requires extensive and systematic research work. In this article we take one of the most obvious substantive aspects of the visible: the vestimental strategy of the film. The purpose of the article is to identify patterns marked by subject (vestimentary) characteristics that are redundant in relation to the dramatic action by comparing the visual environments of films from different decades of the 20th century; using the code of cultural universals that assign the function of sociocultural and ethical regulation to the concept of “clothing” [1; 3; 5; 10; 15], to identify the meaning of these patterns in the context of the ethical thinking of the era. Methods. During the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensory qualities of object-spatial screen environments; a hermeneutical method that allows, on the basis of visible sign structures, to identify the essential intentions of a visual image. In view of the task, it turned out to be necessary to involve some concepts of narratology (in particular, the concept of focalization) and methods of corpus analysis adopted in linguistics. The scientific novelty lies in the fact that we approach the visual source from a philosophical and cultural perspective, considering the visual environment of the film as a form and method of actual sociocultural or philosophical thinking, which has specific (visual) tools. This approach allows us to draw conclusions based not only on individual films, but also on large source databases. Results. During the analysis, the authors applied the tools of modern visual studies and the conceptual basis of socio-philosophical ethics to cinematic texts of the 20th century. This made it possible to discover visual patterns common to films of some decades of the 20th century, namely: the 1930s, 1950s, 1990s, and connect them with the ethical issues of time. Conclusions. Analysis of source databases that include cinematic texts can be carried out through a systematic analysis of the visual environments presented on the screen. At the same time, dominant visual patterns characteristic of a particular era can be identified and described. Such a dominant determines the emphasis in the figurative whole and reveals important aspects of philosophical and cultural thought relevant for its time, including ethical thought. (shrink)

Philosophical discussions of film are divided in their treatment of the subject rhythm in film editing. Analytic philosophers tend to avoid discussion of it, while continental philosophers give it expansive consideration. This chapter aims to bridge these two traditions by analytically articulating what rhythm is, how it is shaped, and what it is for, while still respecting that it is, in both a film editor’s and an audience’s experience, a felt phenomenon. In order to do this, consideration (...) is given both to the firsthand perspective of experienced editors and the articulations of philosophers. This synthesis of practice and theory reveals how an understanding of the editor’s embodied cognitions, affective responses, and expert actions in shaping rhythm can shed light on rhythm’s effect on audiences. The chapter finds that rhythm in film editing is time, energy, and movement shaped by timing, pacing, and trajectory phrasing for the purpose of creating cycles of tension and release. (shrink)

According to conceptual metaphor theory, there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego, movement, time and space also play basic roles. I compare the two (...) linguistic models to Gilles Deleuze’s conceptualization of filmic time: the movement-image and the time-image. While the movement-image and the moving-ego metaphor directly map spatial structures onto the domain of time, the time-image and the moving-time metaphor correlate only in their basic structures and involve different levels of conceptual integrations and conversions. Due to film techniques such as a mobile camera, montage and image manipulation, the time-image seems to transcend the constraints of natural perception and maps onto mental rather than external space, thus giving rise to a new reverse metaphor where space acquires characteristics of the time domain. (shrink)

In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in (...) a way that expectations of spatial continuity are strongly violated. In the present study, we used high-density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts-across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts. (shrink)

Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range of philosophical practices and pursuits (...) that distinguish philosophy (in general) without theory and contemporary philosophy (in general) with its near ubiquitous theoretical presumption. The paper finishes with a brief introduction to the various contributions to this Special Issue of Aesthetic Investigations on Philosophy of Film Without Theory. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

The American movie, “Peaceful Warrior” (2006), starring Scott Mechlowicz and Nick Nolte, is a story about an outstanding athlete’s perplexities and anxieties. The main character in the movie, Dan Millman, aggressively pushes his performance in order to become a top athlete. As a result, he develops feelings of perplexity and anxiety, and suffers daily from these problems, leading to insomnia. The other character in the movie, Socrates, who works at a gas station, is like a philosopher. Socrates not only helps (...) others to feel better, he can also help himself; in other words, he provides philosophical counseling services. In this paper, I utilize a combination of Buddhist philosophy and Logic-based Therapy (LBT) to interpret and analyze scenarios from this Movie, hoping to provide materials for philosophical counseling. The Buddhist philosophy I use includes the Ch’an philosophies of attachment, contemplation, greed, animosity, ignorance, non-duality, and meditation. The Five Steps of Logic-Based Therapy I incorporate include: (1) identifying the counsel­ee’s emotional reasoning; (2) identifying any irrational premises; (3) refuting any irrational premises; (4) finding antidotes to the refuted premises; and (5) exercising willpower in overcoming cognitive dissonance. There are six aspects that I address in this paper. The first is the anxieties of the Movie’s main character, Dan. The second is the philosophical counseling approach attained by combining Ch’an philosophy and Logic-based Therapy. The third is “knowing the dissatisfactions,” i.e. the process of finding one’s emotional reasoning/irrational premises. The fourth is “terminating the causes (of the dissatisfactions),” i.e. refuting the irrational premises. The fifth is “cultivating the path,” i.e. finding an antidote to the refuted premises. And the sixth aspect is “realizing the cessation (awakening),” i.e., exercising willpower in overcoming cognitive dissonance. (shrink)

The medium of film is used for a wide range of purposes – not only for art and entertainment, but as a tool of information dissemination, scientific enquiry, advertising, and political campaigning. While having received most attention in the context of film art, imagination and creativity are relevant to the use of film for all these purposes, because both are ubiquitously relevant to purposeful behavior and problem-solving cognition across all domains of human activity. Various modes of (...) imagining (propositional, sensory-experiential, and empathic), along with the relationship between imagination and creativity, different types of creativity, and the importance of constraints and problems in spurring creative agency, are explored in the light of their pertinence to film. The distinction and the symbiotic relationship between creative and recreative imagining are outlined. The dynamic, embedded, and extended nature of the creative imagination in the context of filmmaking is limned, and an argument concerning the authentic mark of the creative presented. (shrink)

In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in (...) cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged. (shrink)

Introduction -- 1. Transparency -- Introduction -- Photographs and transparency -- Films and transparency -- Criticisms of transparency --2. Illusionism -- Introduction -- Currie's arguments against cognitive illusionism -- Arguments against cognitive illusionism -- Currie's arguments against perceptual illusionism -- Evaluating perceptual illusionism -- 3. Perceptual realism -- Introduction -- Currie's account of perceptual realism -- Problems with resemblance theories -- 4. Summary -- 5. A new theory of the ontology of film -- Introduction -- Films as creative works (...) of art -- Conclusion. (shrink)

In this paper I develop an aesthetic of horror film music based on the film sound theorist Kevin Donnelly's "direct access thesis". This states that horror film scores have the power to provide "direct accesses" to the bodies of an audience; they "produce bodily sensations, excite (mainly negative) emotions and insert in the audience "frames of mind and attitudes...much like a direct injection". I first argue that two dominant theories in the field, namely, the culturalist theory of (...) film music and Peter Kivy's cognitivist theory of music and emotion are inadequate. Then I will show that by aligning the direct access thesis with Jenefer Robinson's theory of music and emotion, Mark Johnson and Steve Larson's contention that musical meaning is primarily embodied, we will be able to reveal a deeper meaning of horror film scores than musical convention. I illustrate my proposal with the shark motif in Jaws and Dies Irae in The Shining. (shrink)

Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of (...) modernity is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions (...) of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)