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Lennard Højbjerg

It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.

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Kathrine Vitus and Nathalie Perregaard

constitutes the very meaning of being ( Heidegger 1962 ). Drawing on both Heidegger and Edmund Husserl ( Zahavi 2019b ), Maurice Merleau-Ponty (1962) focuses on our embodied perception (our being-in-the-world), which takes place from the vantage point of our

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

technologies and increasingly smaller screens (21)? For Richmond, the reason for writing a book on cinema lies in its fundamental ability to modulate the viewer’s proprioception —not merely one’s perception, but one’s “embodied perception of space” (4

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Blue Sky Matter

Toward an (In-flight) Understanding of the Sensuousness of Mobilities Design

Ole B. Jensen and Phillip Vannini

, practical, and ingenious design. 12 We begin by couching our research in a small but growing field of studies focusing on the embodied perception of mobility. Subsequently, we outline our theoretical perspective on mobilities design. Next, we reflect on

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Catalin Brylla and Mette Kramer

emotions are coordinated in different scenes in the film. Lower types of viewer empathy work automatically, regardless of reality-status evaluation, since they are only dependent on direct, embodied perceptions of a target’s emotional state, as well as on

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Violent Thresholds

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

Lawrence Alexander

perspective as a kind of chiasm, an intersubjective structure that configures embodied perception in general and film spectatorship in particular. The framework of the cinematic baroque thus affords the possibility of considering extreme cinema's preoccupation

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Anthony Enns

of physiological optics, in which the scientific understanding of vision was based on the subjectivity of embodied perception (see Crary 1990 ). This tension between objectivity and subjectivity clearly informed the nineteenth-century science of

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

of phenomenological investigation, institution opens up an exploration of the structurally complex emergence of appearances in, through, and around embodied perception rather than reduce perceptual events to the qualia of first-personal experience