This article examines embodied visual meaning in film, the ways that film makes use of recurring dynamic patterns of our shared bodily interactions with the world (image schemas) to communicate abstract meaning to the viewer. Following the lead of recent discoveries in the field of neuroscience, the article argues that this metaphorical transference of abstract thought by means of image schemas is possible via the activation of embodied mirroring mechanisms in the observer. This empathetic and physical encounter of the viewer with the representational content and form of the work is crucial to the understanding of abstract conceptual thought in film.
Embodied Visual Meaning: Image Schemas in Film
Maarten Coëgnarts and Peter Kravanja
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
This article examines the role of situational (dis)continuity and conceptual metaphor in the cinematic construal of complex cases of character perception. It claims that filmed events of the script “a character S seeing something O” can impede the continuity of real-life perception by eliciting discontinuity along two situational dimensions—the temporal dimension (i.e., one cannot directly see events in the past or the future), and the entity dimension (i.e., one cannot see oneself in the act of looking). The article concludes with a case study of Christopher Smith’s Triangle (2009) as an example of contemporary complex narrative cinema.