This issue of Projections features an impressive diversity of research questions and research methods. In our first article, Timothy Justus investigates the question of how film music represents meaning from three distinct methodological perspectives—music theory, cognitive psychology, and cognitive neuroscience. Following a model of naturalized aesthetics proposed by Murray Smith in Film, Art, and the Third Culture (see the book symposium in Projections 12.2), Justus argues for the importance of “triangulating” the methods and approaches of each field—more generally, of the humanities, the behavioral sciences, and the natural sciences. Our second article, by Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács, also explores the effects fostered by a specific formal device of cinema—in this case, shot-scale. And again, distinct research methods are put to complementary use. Raz and colleagues’ starting point is a desire to empirically test a hypothesis advanced by art historians Alois Riegl and Heinrich Wölfflin. To do this, they apply a machine-learning model to neurological data supplied by a set of fMRI scans. Methodology is the explicit topic of our third article, by Jose Cañas-Bajo, Teresa Cañas-Bajo, Juri-Petri Valtanen, and Pertti Saariluoma, who outline a new mixed (qualitative and quantitative) method approach to the study of how feature films elicit viewer interest.
Welcome to the first issue of our first three-issue volume of Projections. We begin this issue with a truly exciting collaboration between a filmmaker (and scholar), Karen Pearlman, and a psychologist, James E. Cutting. Cutting and Pearlman analyze a number of formal features, including shot duration, across successive cuts of Pearlman’s 2016 short film, Woman with an Editing Bench. They find that the intuitive revisions that Pearlman made actually track a progression toward fractal structures – complex patterns that also happen to mark three central pulses of human existence (heartbeat, breathing, walking).
I would like to start off this issue’s note by thanking everyone who has been part of a really impressive team effort to keep Projections running even while ordinary life has been upended as a result of the COVID-19 pandemic. This includes referees and authors, who have had to juggle deadlines with a variety of other commitments, associate editors Tim Smith and Aaron Taylor (as well as acting associate editor Katalin Bálint—more on which soon!), and Janine Latham and the production team at Berghahn. Thank you all for going out of your way to continue working on the journal in spite of everything else that has been going on, including some significant personal challenges for some of you.