According to directors and directors of photography choosing the appropriate shot scale for a scene is primarily an issue of narrative function. However, especially in the practice of art cinema preference of specific shot scales may be an important indicator of a particular style. In some cases statistical analysis of overall shot scale distribution in films reveals consistent and recurrent patterns of shot scale distribution in an author's work. Such a consistency is surprising, because it cannot be the result of conscious decision. No filmmaker plans the proportion of each shot scale in a film. This article investigates a systematic variation of shot scale distribution (SSD) patterns disclosed in the films of Michelangelo Antonioni, and Ingmar Bergman, which raises a number of questions regarding the possible aesthetic and cognitive sources of such a regularity.
András Bálint Kovács
The connection between film elements and brain responses has been suggested by a number of neurocognitive studies. The studies of event segmentation, in particular, support that film editing conditions cognitive responses. After discussing the findings of these studies, this article draws on Münsterberg and Arnheim's classical cognitive approaches to film as well as on poststructuralist film theory to argue that the event segmentation approach still falls short of accounting for the impact of noncontinuous film stimuli on the brain's event segmentation, while it shares with other neurocognitive film research the tendency to naturalize narrative and continuity editing. Finally, the article points out that by approaching the findings of event segmentation studies from the perspective of complex systems neuroscience, new hypotheses can be drawn on how noncontinuous and complex film stimuli condition our brains by mediating (enabling or disrupting) event segmentation and cognitive patterning.
Elisabeth Timm and Patrick Laviolette
interested in the experiential and the sensorial have been aware of issues dealing with hierarchies, domination and resistance. Yet phenomenological and more existentially grounded approaches to understanding human behaviour, cultural meanings, cognitive
Ontology, Knowledge, and Computation
. “ La fabrique des restes: Le schème cognitif de simplification dans les arts mantiques chinois ” [The making of remainders: The cognitive pattern of simplification in Chinese mantic arts]. Anthropologie et Sociétés 42 ( 2–3 ): 37 – 68 . https
Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács
Cognitive Pattern? ” Projections 8 ( 2 ): 50 – 70 . https://doi.org/10.3167/proj.2014.080204 10.3167/proj.2014.080204 Kovács , András Bálint , and Nóra Fanny Zentay . 2017 . “ The Use of Quantitative Methods in the Humanities .” In A History