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Catalin Brylla and Mette Kramer

frameworks as well as institutional practices. This mapping relates not only to the study of audiences, but also to the study of filmmakers and their practices. He considers documentary reception as an intersubjective mediation of reality involving a

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

, Practice, and Spectatorship (2014), Jane Stadler’s Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics (2008), and Lisa Downing and Libby Saxton’s Film and Ethics: Foreclosed Encounters (2010) may signal a determination to reach

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Pascal Wallisch and Jake Alden Whritner

produced movie achieves much higher synchronization between viewers than footage of unstructured scenes ( Hasson et al. 2008 ). This is also reflected in the intersubjective synchronization of brain activity ( Hasson et al. 2004 , 2009), particularly in the

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

identification with a diegetic character. Film viewing is thus conceived as a venue for dynamic intersubjective communication, involving the spectator, the film, and the maker. 3 In this article I highlight haptic apparatuses at work in Solomon’s films. Beyond

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

” (2017: 63). Seventeen years ago, when introducing the “shared manifold” hypothesis of intersubjectivity, I made a similar proposal to operationalize the investigation of intersubjectivity and social cognition according to three levels of description

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Robert Sinnerbrink and Matthew Cipa

bringing these perspectives together, Yacavone constructs a “three-dimensional” concept of film worlds that encompasses their objective, subjective, and intersubjective aspects. This avoids the main failing of most attempts to conceptualize film worlds: the

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

cinema audience perceives through technology (as one sees through a clear lens) and perceives along with the technology (intersubjectively perceiving what the camera “sees,” what the microphone “hears,” and what the projector “expresses,” as though

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Violent Thresholds

Sights and Sounds of the Cinematic Baroque in Pascal Laugier's Martyrs

Lawrence Alexander

spectatorship. It is this notion of making an experience present to the outside world and the suggestion of an intersubjective relationship inter homines underpinning such an impulse that will continue to guide our consideration of representing painful

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

on situated accounts of cognitive experience—acknowledging the essential role of social interaction, sociocultural learning, intersubjective communication, sociocultural “scripts,” and enactive engagement with others in the world—brings cognitivist

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Jonathan Frome

scene raises or answers a question without operationalizing those concepts. Specifically, we must define question and answer in ways that would reliably generate intersubjective agreement about whether given random film scenes raise or answer