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James E. Cutting

. Similarly but back in the two-process domain, Alexandre Sousa and colleagues (2019) modeled preferences to popular music along three collative variables—novelty, complexity, and uncertainty—and, once they were combined, found separate and different Wundt

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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

viewer comprehends particular scenes characterized by such discrepancies. To address this issue, we draw on two influential theories of discourse comprehension of the 1980s and 1990s, namely (1) the theory of situation model or mental model construction

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Malcolm Turvey

, involving baseline intuitive responses and subsequent cognitive revaluations. The so-called dual-process model suggests that moral judgment is the result of two systems working in tandem. One is quick and intuitive, a bottom-up process that is the result of

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

significance of affect for ethical experience in cinema. In this article, I aim to build a model for understanding the relationship between complex affectivity and ambiguous ethical engagement in cinematic experience without relying on a concept of empathy

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Gal Raz and Talma Hendler

This article reviews significant developments in affective neuroscience suggesting a refinement of the contemporary theoretical discourse on cinematic empathy. Accumulating evidence in the field points to a philogeneticontogenetic-neural boundary separating empathic processes driven by either cognitive or somato-visceral representations of others. Additional evidence suggests that these processes are linked with parasympathetically driven mitigation and proactive sympathetic arousal. It presents empirical findings from a functional magnetic resonance (fMRI) film viewing study, which are in line with this theoretical distinction. The findings are discussed in a proposed cinematographic framework of a general dichotomy between eso (inward-directed) and para (side by side with)—dramatic cinematic factors impinging on visceral representations of real-time occurrences or cognitive representations of another's mind, respectively. It demonstrates the significance of this dichotomy in elucidating the unsettling emotional experience elicited by Michael Haneke's Amour.

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Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács

analysis. We first tested the validity of the intuitive link between shot-scale categories and the prevalence of face images in our data. Next, we tested whether a shot-scale model would predict shot-scale annotation better than a face-ratio model would

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A Vision of the Viewer

Situating Narration in the Fiction Film in the Context of Theories of Narrative Comprehension

Joseph P. Magliano and James A. Clinton

form and the fabula refers to the situation model (e.g., Van Dijk and Kintsch 1983 ), which reflects a representation of what a text is about. Much of the research on narrative comprehension over the past three decades since the publication of Bordwell

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Qihao Ji and Arthur A. Raney

should theoretically heighten the tension between fiction and nonfiction: documentary-style fiction or mockumentaries. The current project tested an initial model of these relationships within this specific entertainment context. Suspension of Disbelief

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Ted Nannicelli

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

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Héctor J. Pérez

me to analyze the interaction between emotion and cognition with greater precision than any other approach to the surprising event: the model of surprise originally proposed by the cognitive psychologists Wulf Meyer and colleagues (1997) , and which