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The iAnimal Film Series

Activating Empathy Through Virtual Reality

Holly Cecil

virtual reality. The film was produced for viewing on VR headsets, which use gyroscopes and motion sensors to track viewers’ head movements as they actively scan the three-dimensional filmic environment, and instantaneously render the display to

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by so close to him and far away, relating a person to the whole world: that is the meaning of cinema.” —Andrei Tarkovsky

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The Tiger Penis Project

Kuang-Yi Ku

animals and traditional cultures while providing more possibilities for the coexistence of human society and the natural environment. Visual Experiments In TCM culture, the idea behind the myth of the eating of tiger penis for male virility

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Being Screens, Making Screens

Functions and Technical Objects

Mauro Carbone, Graziano Lingua, and Sarah De Sanctis

mediate our overall bodily relationship with the environment. For this reason, in this article we will try to characterize the arche-screen as a transhistorical principle that involves not only the pair of functions just mentioned, with which screens

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Editor's Outlook

Andrew J. Ball

technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning

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The Extent of Mental Completion of Films

Henry Bacon

According to constructivist theory a film cues us to apply a variety of schemata in mentally constructing a narrative and the diegetic world in which it takes place. But to what extent and with what degree of precision do we mentally construct time, space, causality, and the characters when we watch a film? We are not aware of the real world and our immediate environment much in excess of what our interests, needs, and desires are in any given situation. Similarly, we do not conceive of a complete fictional world when watching a film. Rather, a film cues us to fill in to the extent and with a precision that is relevant to our attempts at making sense of what is happening, often as focalized in terms of character interest. The cueing takes place through an interplay of what Thompson (1988) has defined as the realistic and the aesthetic background construction. This article outlines how this interplay functions to override apparent discrepancies in the material on the one hand, and to produce a variety of aesthetic effects on the other hand. Von Trier's Antichrist serves as an example of how the partial blocking of the filling in function can serve intriguing aesthetic purposes.

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Aesthetics of Futurism

Lu Yang's Art and an Organological Redefinition of the Human in the Planetary Age

Hai Ren

. Thus, to change the habits that disables the habitability of the human inhabitants, as Catherine Malabou argues, we first need to develop a new habit of viewing the human brain “ as an environment, as a metabolic place” (rather than “in” its

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

operating in his surrounding environment. To analyze the complex ecological dynamics of the film, therefore, I will resort to a Spinozian radical enactivist reading of embodied activities with the purpose of highlighting how we, as viewers, are capable of

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From the Editor

Edited by Stephen Prince

’s global popularity. We close with book reviews of Jason Mittell’s Complex TV: The Poetics of Contemporary Television Storytelling , and Moving Environments: Affect, Emotion, Ecology and Film , edited by Alexa Weik von Mossner. — Stephen Prince

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

experientialist myth understanding emerges from interaction, from constant negotiation with the environment and other people. It emerges in the following way: the nature of our bodies and our physical and cultural environment imposes a structure on our experience