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Catalin Brylla and Mette Kramer

frameworks as well as institutional practices. This mapping relates not only to the study of audiences, but also to the study of filmmakers and their practices. He considers documentary reception as an intersubjective mediation of reality involving a

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

, Practice, and Spectatorship (2014), Jane Stadler’s Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics (2008), and Lisa Downing and Libby Saxton’s Film and Ethics: Foreclosed Encounters (2010) may signal a determination to reach

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Pascal Wallisch and Jake Alden Whritner

produced movie achieves much higher synchronization between viewers than footage of unstructured scenes ( Hasson et al. 2008 ). This is also reflected in the intersubjective synchronization of brain activity ( Hasson et al. 2004 , 2009), particularly in the

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

identification with a diegetic character. Film viewing is thus conceived as a venue for dynamic intersubjective communication, involving the spectator, the film, and the maker. 3 In this article I highlight haptic apparatuses at work in Solomon’s films. Beyond

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Enactive Authorship

Second-Order Simulation of the Viewer Experience—A Neurocinematic Approach

Pia Tikka

The neurocinematic inquiry is extended in this article to the sparsely studied topic of the filmmaker (author) as an embodied agent. Departing from my concept of second-order authorship, and inspired by the second-person framework of intersubjectivity discussed by Michael Pauen and Vittorio Gallese, I propose a model in which the author simulates the viewer (experient) who further simulates the experience of the protagonist in the film. This chain of relations is described as enactive second-order simulation of the viewer experience. While the author does not have a direct key to influence the experient, there is a relation mediated by the protagonist’s situatedness in the film’s narrative context. I further trust the core assumption of the neurocinematic approach—namely, that film as a narrative medium provides a means to imitate contexts of life that condition the enactive simulation of both the author and the experient.

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Vittorio Gallese and Michele Guerra

In the last decades, the contribution of cognitive neuroscience to film studies has been invested in at least three different lines of research. The first one has to do with film theory and history: the new attention, inspired by cognitive neuroscience, to the viewer’s brain-body, the sensorimotor basis of film cognition, and the forms of embodied simulation elicited by the cinematic experience has stimulated a profound rethinking of a relevant part of the theoretical discourse on cinema, from the very beginning of the twentieth century to the most recent reflections within cognitive film studies and the phenomenology of film. The second line has to do with the intersubjective relationship between the movie—its style, rhythm, characters, and narrative—and the viewer, and it is characterized by an empirical approach that yields very interesting results, useful for rethinking and problematizing our ideas about editing, camera movements, and film reception. The third line concerns a possible experimental approach to the new life of film, focusing on the digital image, the innovative forms of technological mediation, and the inscription of a new film spectatorship within a completely different medial frame. The goal of this special issue is to offer insights across these lines of research.

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

” (2017: 63). Seventeen years ago, when introducing the “shared manifold” hypothesis of intersubjectivity, I made a similar proposal to operationalize the investigation of intersubjectivity and social cognition according to three levels of description

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Robert Sinnerbrink and Matthew Cipa

bringing these perspectives together, Yacavone constructs a “three-dimensional” concept of film worlds that encompasses their objective, subjective, and intersubjective aspects. This avoids the main failing of most attempts to conceptualize film worlds: the

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“Mind the Gap”

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

Jane Stadler

cinema audience perceives through technology (as one sees through a clear lens) and perceives along with the technology (intersubjectively perceiving what the camera “sees,” what the microphone “hears,” and what the projector “expresses,” as though

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Violent Thresholds

Sights and Sounds of the Cinematic Baroque in Pascal Laugier's Martyrs

Lawrence Alexander

spectatorship. It is this notion of making an experience present to the outside world and the suggestion of an intersubjective relationship inter homines underpinning such an impulse that will continue to guide our consideration of representing painful