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“Mind the Gap”

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

Jane Stadler

cases “it is the domain of representation, and especially the practice of narration, that constitutes the ‘environmental support’ created by the mind to drive its amplified performance” (188). If I understand this correctly, then it may not be so much

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Patrick Keating

dance, but her performance is interrupted by Tommy, planted in the audience and playing “All I Do Is Dream of You” on a ukulele. In the scene I want to discuss, Sadie attends a performance and expects to see Tommy; when Sadie sees another man singing in

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Karen Pearlman

expertise involves, does not mean that this expertise is somehow innate, or not a form of thinking. Developing and enacting high levels of skill require us not to cut intellect and emotion off from our embodied, grooved performances, but to achieve and then

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Murray Smith

, any strictly empirical inquiry—to this dimension. Psychologists might have discovered that the expressive qualities we attribute to music vary notably depending on whether we are watching (or, strictly speaking, “audio-viewing”) a performance of a

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

composers from J. S. Bach to Scott Joplin. Similarly, Rankin and Large (2009) found them in piano performances of works by Bach, Beethoven, Chopin, and Gershwin. This latter variation is important here because music performance involves body movement

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

Intramusical and Extramusical Meaning In Howards End (1910), E.M. Forster beautifully captured an essential question in the cognitive science of music. Early in the story, the Schlegel siblings attend a performance of Beethoven's Fifth

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Functional Elements of the Moving Image

Philip Cowan

talking about the use of sound, performance, or editing although these are of course valuable areas to study. Thomas Wartenberg highlights the fact that “moving image” is Carroll's preferred terminology for “film,” “because he rejects the claim that film

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Pascal Wallisch and Jake Alden Whritner

:// . Boatwright , Peter , Suman Basuroy , and Wagner Kamakura . 2007 . “ Reviewing the Reviewers: The Impact of Individual Film Critics on Box Office Performance .” Quantitative Marketing and

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Melenia Arouh

, 1925) by noting performance, props, and sets; and the creation of suspense in The Rope (Alfred Hitchcock, 1948) through mobile framing (2018, 204–205, 138–141). Depending on the type of exegesis required, an inclusive conception of “form” allows

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Catalin Brylla and Mette Kramer

creative application of cognitive theory in practice has been popular in performance and theater studies (e.g., May 2015 ) and creative writing (e.g., Skains 2016 ). There have also been isolated attempts to implement cognitive approaches in documentary