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Altered Landscapes and Filmic Environments

An Account from the 13th Asian Cinema Studies Society Conference

Tito R. Quiling Jr.

It’s just past 10:00 am on a humid Monday in Singapore, and the streets seemed to have settled after a workday rush. My walk from Arab Street to McNally Street was rather placid, punctuated by moments at intersections, and surrounded by people heading somewhere. Minutes later, I was looking up at the postmodern buildings of LASALLE College of the Arts—a panorama of reinforced concrete, glass, tiles, and steel gleaming under the morning sun. In cinema, spaces and landscapes are primary features. At times, the setting goes beyond the overarching narrative, as it conveys its own story. Given their impact, Stephen Heath (2016) infers that a process occurs in identifying spatial connections to the characters, since “organizing, guiding, sustaining and reestablishing the space are the factors that reveal this process.” The audience absorbs the familiar images or experiences onscreen. However, embodied objects of varying iterations contribute to how environments in films are concretized. On this note, one can ask: in what ways do filmic environments thus project narratives and discourses?

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Film, Art, and the Third Culture

A Naturalized Aesthetics of Film—Précis

Murray Smith

illuminated by neuroscientific discoveries. But the brain is not the whole story; according to the theory of the “extended mind,” human cognition relies extensively on the environment beyond the skin and skull of the individual agent. And according to the

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

two distinctive forms: (1) simple boredom, a fleeting, temporary and timebound condition arising from either the lack of stimuli in an environment, an inability of attention, impatience or other external circumstances such as confinement; and (2

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David Bordwell

still am not, competent to argue out these positions insofar as they bear on veridical perception in our environment. But I would maintain that inference of an informal sort is crucial to understanding all kinds of social phenomena. Take what have been

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David Davies

intensity. Our ability to empathize is extended across a wide range of types of person and situation, and sustained and intensified by virtue of the artificial, “designed” environments created by narrative artefacts . (191) In each of these passages, we

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Sam Roggen

the medium to create a pathetic relationship between man and environment.” Basinger (2007: 69 ) suggested that, in Mann’s westerns “the landscape both frames and embodies action,” and added that “a character’s position in the narrative (as well as his

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Torben Grodal

an environment that is difficult to control mentally, and creates a feeling in the viewers of being overwhelmed. The bad guys are psychopathic charlatans and this activates social FEAR for the big city and its socially foreign or deviant persons. To

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

variation is a series of adaptations (or by-products of adaptations) to different environments and social relationships. Thus, while culture and biology may conflict with one another at times, they are nevertheless mutually dependent. From this biocultural

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Murray Smith

reality environments, by contrast, our actual and simulated embodied experiences come into close—ideally, fully unified—alignment. Dream On Another motif that Gallese weaves into his account of embodied simulation in the context of film viewing is the

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Catalin Brylla and Mette Kramer

knowledge acquired through other films, other media, or personal experience. A case in point is Jon Bang Carlsen’s documentary oeuvre . During his longitudinal film research, which he records on camera, Bang Carlsen often lives in the same environment he