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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

the emotions of film characters with our mirror neurons but also the anthropomorphic movements of the camera recording them. We maintain that the functional mechanism of embodied simulation expressed by the activation of the diverse forms of

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Katherine Thomson-Jones

-theoretical debate on our engagement with film characters. This is particularly clear in Chapter 7 as new ideas emerge. Given that this is primarily a book about methodology, the development of new ideas in aesthetics is not its focus. In the service of recommending

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

constitutes our primary alignment with film characters, viewers start simulating their bodily states and actions, and associate meaning, moral values, and conceptual reality to these operations and sensorimotor conditions. Thus, viewers generate semantic

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“Mind the Gap”

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

Jane Stadler

“direct, experiential form of understanding” of other people’s (or film characters’) actions and emotions (100). In terms of the aforementioned triangulation of perspectives, the mirror neuron system “is the neural substrate that ‘implements’ our

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Philip J. Hohle

ahead ( Dervin 2003a , 2003b). This perspective acknowledges the considerable authority of the viewer to judge film characters and interpret events as needed to get past it, to move on, and perhaps even resume the enjoyment of a film. The methodology

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Robert Sinnerbrink and Matthew Cipa

sound denotes the “importance is size/volume” conceptual metaphor (215–217). While previous chapters, and a wealth of film scholarship, are devoted to the emotional connection between spectators and films and film characters, this discussion adapts the

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

a film character. These dramatic situations are culled from a broad range of historically and geographically diverse films, illustrating the way in which filmmakers working within different traditions and historical contexts have nonetheless created

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

are also pervasive in those filmic expressions that convey information about the perceptual states of film characters ( Coëgnarts and Kravanja 2014 , 2015a , 2015b ). Exposing the relationship between the situational dimensions of character

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

interdisciplinary virtual human research, literary scholar and computer scientist Johan Hoorn has conducted qualitative and empirical studies investigating audience engagement with film characters, avatars, and robots in order to model humans’ cognitive

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Catalin Brylla and Mette Kramer

one that has predominantly centered on fiction films. Character engagement is related to the narrative orchestration and aesthetic attributes of the film text and to the fundamental question of whether the engagement happens on an empathetic or