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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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Reply to Joseph P. Magliano and James A. Clinton, Paisley Livingston, and Brian Boyd

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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A Moderately Pessimistic Perspective on “Cooperative Naturalism”

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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Die Hard as an Emotion Symphony: How Reptilian Scenarios Meet Mammalian Emotions in the Flow of an Action Film

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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Gradation of Emphasis in the CinemaScope Westerns of Anthony Mann

A Style Analysis

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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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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Film, Art, and the Third Culture

A Response

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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A Pragmatic Framework for the Cognitive Study of Documentary

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

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

environment and further makes reference to the extent to which filmmakers’ ecological goals are actually realized. The focus is thus on practitioner’s agency, on the self-understandings, aspirations, and decision making that inform practice. In everyday