turn in this article to the question of whether more knowledge of what filmmakers, particularly editors, do could reciprocate by contributing refinements, complications, or new research questions to scholarship in cognition and film. Although this
An Analysis of the Evaluation of Different Classes
Cui Yan and Huang Yongliang
article, data from the 2017 Chinese Social Survey of the Institute of Sociology within the Chinese Academy of Social Sciences are collected and used to analyze and discuss each social class group’s cognition about the effect of the four conditional factors
Review of Patrick Colm Hogan, UNDERSTANDING INDIAN MOVIES: CULTURE, COGNITION, AND CINEMATIC IMAGINATION
Assessing the Impacts of Biology and Navigational Experience
Mariah G. Schug
explanation for the sex difference in spatial cognition ( Munroe and Munroe 1971 ). The Munroes (1971) are not the only researchers to note sex differences in spatial reasoning abilities. The study of spatial cognition includes a broad range of tasks, such
Spinoza's Radical Enactivism and You Were Never Really Here
Since the emergence of embodied cognitive theories, there has been an ever-growing interest in the application of these theories to media studies, generating a large number of analyses focusing on the affective and intellectual features of viewers’ participation. The body of the viewer has become the central object of study for film and media scholars, who examine the conceptual physicality of the viewing experience by associating body states with parallel intellectual and moral constructions. In this article, I contribute to the study of embodied cognition and cinema by drawing upon Baruch Spinoza’s philosophy, especially from his process-based notion of the body. I will put this ecological and dynamic concept of the body in connection with recent studies on enactive cognition, and define a radical enactivist approach to be applied in the discussion of the experiential dynamics of Lynne Ramsay’s You Were Never Really Here.
recent work in embodied cognition, primarily the idea of disgust. 4 I suggest that we explicitly incorporate disgust and other embodied cognitive responses into Mills’s conception of how race, racism, and the epistemology of ignorance work because
For an Anthropology of Cognitive Disability
Patrick McKearney and Tyler Zoanni
cognition and perception. It is perhaps not surprising, then, that in trying to convey the kind of difference that autism makes, parents, scholars and autistic people themselves frequently resort to metaphors of other worlds, often of the intergalactic
Karin Luisa Badt
Neuroscientist Jaak Panksepp's theory of SEEKING offers a fundamental insight into why film spectators are engaged by what they see on screen. This article offers a new reading of Panksepp's SEEKING theory and how it applies to spectatorship, a reading informed by two months of the author's personal exchange with the scientist. The article states that the SEEKING impulse—defined as the emotional instinct to seek resources—applies not only to how the spectator identifies with the main character and his search for resources, but to how the spectator responds to visual and aural cues regardless of the story or characters. The article provides a corrective to spectator theories which focus too narrowly on narrative as a cue for viewer mental activity. An examination of two scenes from The Bicycle Thief and Stalker shows how SEEKING can occur on both the primary and tertiary level, thus breaking the emotion-cognition divide.
One hundred years after the publication of Totem and Taboo, Freud’s book is summarized, and its reception and current status noted.
Cognitive and Affective Learning in an Inclusive Shakespearean Curriculum
Sheila T. Cavanagh and Steve Rowland
Sheila T. Cavanagh and Steve Rowland link Shakespeare classrooms in distinctive venues: Cavanagh is a professor at Emory University in Atlanta, whose students are enrolled in undergraduate degree programmes; Rowland teaches at Monroe Correctional Facility in Washington State, under the auspices of University Beyond Bars. This article describes some of the practical and theoretical challenges emerging through this collaboration, many of which result from the instructors’ desires to construct their classes with pedagogic goals and assignments drawn from both cognitive and affective learning principles. Geography precludes the students meeting in person and they are not currently able to employ videoconferencing in this endeavour, but regular exchanges of essays and responses to each other’s writing allows these disparate groups of Shakespeareans to expand their knowledge of the drama while sharpening their critical and writing skills and learning to develop their affective understandings of the subject.