Book Reviews

in Projections
Author:
Steven Willemsen Assistant Professor, Arts, Culture & Media, University of Groningen, The Netherlands s.p.m.willemsen@gmail.com

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Mario Slugan Lecturer in Film Studies and Strategic Lecturer, Institute of Humanities and Social Sciences, Queen Mary University of London, UK m.slugan@gmul.ac.uk

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Elke Weissmann Reader in Television and Film, Edge Hill University,England and Head of Television Studies Research Group weissmae@edgehill.ac.uk

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Lucy Bolton Reader in Film, Queen Mary University of London, UK l.c.bolton@qmul.ac.uk

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DOI:
https://doi.org/10.3167/proj.2021.150305
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Marina Grishakova and Maria Poulaki, eds. Narrative Complexity: Cognition, Embodiment, Evolution. Lincoln: University of Nebraska Press, 2019, 468 pp., $75.00 (hardcover). ISBN: 9780803296862.

Maarten Coëgnarts. Film as Embodied Art: Bodily Meaning in the Cinema of Stanley Kubrick. Brookline: Academic Studies Press, 2019, xxxv +228 pp., $120 (paperback), ISBN: 978-1-64469-112-0. [Also available for free under a CC BY-NC-ND 4.0 license with support from Knowledge Unlatched, ISBN: 978-1-64469-113-7].

Marsha F. Cassidy. Television and the Embodied Viewer: Affect and Meaning in the Digital Age. New York: Routledge, 2020, 216 pp., $155.00, ISBN: 9781138240766.

Sarah Cooper. Film and the Imagined Image. Edinburgh: Edinburgh University Press, 2019, 208 pp., $24.95 (paperback), ISBN: 9781474452793.

Contributor Notes

Steven Willemsen is an assistant professor in Arts, Culture & Media at the University of Groningen (the Netherlands), and an affiliated researcher at the Max Planck Institute for Empirical Aesthetics in Frankfurt am Main (Germany). Email: s.p.m.willemsen@gmail.com

Mario Slugan is lecturer in film studies and strategic lecturer at the Institute of Humanities and Social Sciences, Queen Mary University of London, where he works on the intersection of film theory, film history, and analytic philosophy. He is the author of Montage as Perceptual Experience (2017), Noël Carroll and Film (2019), and Fiction and Imagination in Early Cinema (2019, BAFTSS Best Monograph Runner-up). He has also co-edited special issues of Projections and Studies in Documentary Film and is fellow of SCSMI. Email: m.slugan@gmul.ac.uk

Elke Weissmann is reader in television and film at Edge Hill University and head of the Television Studies Research Group. Her publications focus on the television industries as well as issues of gender. Email: weissmae@edgehill.ac.uk

Lucy Bolton is reader in film at Queen Mary University of London. She is the author of Contemporary Cinema and the Philosophy of Iris Murdoch (EUP 2019), and Film and Female Consciousness: Irigaray, Cinema and Thinking Women (Palgrave Macmillan 2011), and is on the editorial board of Film-Philosophy. Email: l.c.bolton@qmul.ac.uk

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Projections

The Journal for Movies and Mind

Cover Projections
Article Category:
Review Article
Page Count:
19
Print Publication Date:
01 Dec 2021
Online Publication Date:
01 Dec 2021
Copyright:
© The Author/s 2021

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  • Hven, Steffen. 2017. Cinema and Narrative Complexity. Amsterdam: Amsterdam University Press.

  • Kiss, Miklós, and Steven Willemsen. 2017. Impossible Puzzle Films. Edinburgh: Edinburgh University Press.

  • McCloud, Scott. 1994. Understanding Comics. New York: HarperPerennial.

  • Mittell, Jason 2015. Complex TV. New York: New York University Press.

  • Poulaki, Maria 2011. Before or Beyond Narrative? Amsterdam: Rozenberg Publishers.

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  • Fedorenko, Evelina, and Rosemary Varley. 2016. “Language and thought are not the same thing: evidence from neuroimaging and neurological patients.” Annals of the New York Academy of Sciences 1369 (1): 132–153. doi:10.1111/nyas.13046.

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  • Barker, Jennifer M. 2009. The Tactile Eye: Touch and the Cinematic Experience. Los Angeles: University of California Press.

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  • Marks, Laura U. 2000. The Skin of Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press.

  • Nannicelli, Ted, and Paul Taberham. 2014. “Introduction: Contemporary Cognitive Media Theory”. In Cognitive Media Theory, ed. Ted Nannicelli and Paul Taberham, 1–23. New York: Routledge.

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  • Smit, Alexia. 2010. “Broadcasting the Body: Affect, Embodiment and Bodily Excess on Contemporary Television.” PhD diss., University of Glasgow.

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  • Smit, Alexia. 2013. “Visual Effects and Visceral Affect: ‘Tele-affectivity’ and the Intensified Intimacy of Contemporary Television.” Critical Studies in Television 8 (9): 92–107.

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  • Smith, Greg M. 2014. “Coming Out of the Corner: The Challenges of a Broader Media Cognnitivism.” In Cognitive Media Theory, ed. Ted Nannicelli and Paul Taberham, 285–302. New York: Routledge.

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  • Sobchack, Vivian. 1992. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press.

  • Sobchack, Vivian. 2004. Carnal Thoughts: Embodiment and Moving Image Culture. Los Angeles: University of California Press.

  • Watts, Robert. Forthcoming. “National TV as Transnational Cinematic Project: How Binge-watching Frames the Critical Vocabulary.” In Binge-watching and Contemporary Television Research, ed. Mareike Jenner. Edinburgh: Edinburgh University Press.

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  • Williams, Raymond. 1974. Television: Technology and Cultural Form. London: Collins and Sons.

  • Williams, Raymond. 1977. Marxism and Culture. Oxford: Oxford University Press.

  • Cooper, Sarah. 2013. The Soul of Film Theory. Basingstoke, Hampshire: Palgrave Macmillan.

  • Scarry, Elaine. 1999. Dreaming by the Book. Princeton, NJ: Princeton University Press.

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