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Frederick Luis Aldama

The study of emotional body language is beginning to show results that contribute to our understanding of the affective and aesthetic impact of films on their audiences. This article presents an analysis of Mira Nair’s film Salaam Bombay! by turning to neurobiological findings on the emotions.

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Frederick Luis Aldama

This article at once celebrates and puts at cautionary arm's length the tremendous advances made in the cognitive and neurosciences as research that can deepen our understanding of creating and consuming of literature, films, comic books. After providing an overview of recent insights by scholars with one foot in the humanities and the other in the cognitive and neurosciences, the article reflects on some key precepts that might be useful in our continued shaping of a humanities and cognitive based research program. For instance, the article explores the way authors, film directors, and artists generally not only construct artifacts that elicit positive emotions but also negative emotions. It also proposes a model for understanding how the “aesthetic” is a relation and not a property nor an essence of the object (a film) nor something to be found in the subject (us viewing the film).