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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

. 2014, 2017). Empathy and its Expansion: Liberated Embodied Simulation In the seventh chapter of the book, Smith addresses the role of empathy in film and art experience and discusses it against the background of neuroscience and, more

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Murray Smith

the sections and a through-line of argument concerning the distinctiveness of “fiction film emotions” and the character of naturalistic methodology. Transparency, Embodied Simulation, and the “Skin-Screen” In his commentary, Vittorio Gallese sets out

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Karen Pearlman

order is available. Finally, the article turns to Vittorio Gallese and Michele Guerra’s (2012) article “Embodying Movies: Embodied Simulation and Film Studies.” Again, an anomaly in an example used by Gallese and Guerra is given particular attention

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Gal Raz and Talma Hendler

This article reviews significant developments in affective neuroscience suggesting a refinement of the contemporary theoretical discourse on cinematic empathy. Accumulating evidence in the field points to a philogeneticontogenetic-neural boundary separating empathic processes driven by either cognitive or somato-visceral representations of others. Additional evidence suggests that these processes are linked with parasympathetically driven mitigation and proactive sympathetic arousal. It presents empirical findings from a functional magnetic resonance (fMRI) film viewing study, which are in line with this theoretical distinction. The findings are discussed in a proposed cinematographic framework of a general dichotomy between eso (inward-directed) and para (side by side with)—dramatic cinematic factors impinging on visceral representations of real-time occurrences or cognitive representations of another's mind, respectively. It demonstrates the significance of this dichotomy in elucidating the unsettling emotional experience elicited by Michael Haneke's Amour.

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

, may greatly benefit from the synergism found between moving-image theory and the insights afforded by these studies. Embodied Simulation and Aesthetic Experience The idea of mutual sensorimotor engagement, raised earlier in association with

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Jeffrey M. Zacks, Trevor Ponech, Jane Stadler, and Malcolm Turvey

Gallese is an eminent neurophysiologist who is one of the co-discoverers of mirror neurons ( Rizzolatti et al. 2001 ). Michele Guerra is a film theorist and culture minister. The book opens with a somewhat polemical argument for the embodied simulation

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Robert Sinnerbrink and Matthew Cipa

: On Embodied Simulation Mechanisms and the Viewer, and (3) From Embodied Meaning to Abstract Thought. A key organizing principle is David Bordwell and Kristin Thompson’s framework of film form, which encompasses the interrelationships between both the

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David Davies

, David Freedberg and Vittorio Gallese state that mirror neuron research has shed light on the ways in which we empathize with others by emphasizing the role of implicit models of others’ behaviors and experiences—that is, embodied simulation. Our

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“Mind the Gap”

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

Jane Stadler

emotive capacities (188). But based on what we know about mirror neurons, embodied simulation entails an involuntary process of intercorporeality rather than extending one’s own mind to “co-opt” or “couple” with another person’s mind. Intercorporeality

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

of mind ( Grodal 2009: 154–155 ; Steen and Owens 2001 ). Working as cognitive extensions of embodied simulations, models of fictional minds enable us to understand (or be puzzled by) the intentions, emotions, and actions of on-screen characters and