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Carl Plantinga

audience for Screen Stories is twofold. The first audience consists of anyone who is interested in the ecology of screen stories. The second consists of members or would-be members of the academy, and especially those in film and media studies. Screen

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Jens Eder

The philosopher Matthew Ratcliffe (2005 , 2008 ) introduced the concept of “feelings of being” or “existential feelings” into the philosophy of mind. In this article, I show how this concept is relevant to film and media studies, focusing on the

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi


Since the emergence of embodied cognitive theories, there has been an ever-growing interest in the application of these theories to media studies, generating a large number of analyses focusing on the affective and intellectual features of viewers’ participation. The body of the viewer has become the central object of study for film and media scholars, who examine the conceptual physicality of the viewing experience by associating body states with parallel intellectual and moral constructions. In this article, I contribute to the study of embodied cognition and cinema by drawing upon Baruch Spinoza's philosophy, especially from his process-based notion of the body. I will put this ecological and dynamic concept of the body in connection with recent studies on enactive cognition, and define a radical enactivist approach to be applied in the discussion of the experiential dynamics of Lynne Ramsay's You Were Never Really Here.

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Ted Nannicelli

also suggestive our future direction: it includes contributions by scholars based in English and comparative literature, film and media studies, psychology, and philosophy. This issue begins with two articles that revisit Russian classical film theory

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Janet Staiger

overall response at the very start. The value of the project is combining standard film-critical knowledge with the cognitive strand of psychological theory. In this effort, Berliner provides an enhancement of a major trajectory in film and media studies

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“Mind the Gap”

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

Jane Stadler

technologies such as virtual reality I believe his assessment of the role of simulation in moral imagination is the next problem that cognitive media studies and those of us working at the intersection of film and philosophy need to tackle. Alongside Smith

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Carl Plantinga

, such as churches, theaters, and educational institutions, that generate and manage social interaction regarding screen stories. This sort of research has been important in film and media studies for many years, and much of it implicitly relates such

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

film and media studies at the University of Tromsø, the Arctic University of Norway. 6 Audiovisual Style in Jensen’s Ecological Cinematics The Visuality of Nature in Culture In Jensen’s filmmaking cultural elements are repeatedly traced to natural

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Kata Szita, Paul Taberham, and Grant Tavinor

science, psychology, neuroscience, and various subfields of media studies. The book's themes are situated across three separate but overlapping sections: cognition (covering mental processes related to perception and cognition), affect (corporeal

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Margrethe Bruun Vaage and Gabriella Blasi

presently relate to nature’s resources. The collection of essays edited by Alexa Weik von Mossner testifies to the richness and diversity of methodological approaches that mark film and new media studies in the ecocritical humanities and is certainly to be