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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

, 2002 ; Shaviro 1993 ; Sobchack 1992 , 2004 ). Recent studies in cognitive neuroscience have paved the way for empirical work ( Gallese and Guerra 2012 , 2015 ; Heimann et al. 2014 ; Raz et al. 2013 ; Raz and Hendler 2014 ) and for a

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Ted Nannicelli

perspectives—music theory, cognitive psychology, and cognitive neuroscience. Following a model of naturalized aesthetics proposed by Murray Smith in Film, Art, and the Third Culture (see the book symposium in Projections 12.2), Justus argues for the

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Patrick Colm Hogan

Our emotional responses are determined not only by actual experience, but also by anticipation. Indeed, we respond not only to anticipations per se, but to the relation between anticipations and experiences. Such anticipations operate on different time scales, linked with distinct neurological substrates. Some—such as those involving expectations about the immediate trajectory of objects—are very brief. The relations between experience and very short-term expectations can have significant emotional consequences. One purpose of the standard continuity editing system is to avoid disruptions in our short-term projections. However, the manipulation of discontinuities, thus the controlled disruption of short-term anticipations, can significantly contribute to the emotional impact of film. It is possible to isolate distinct varieties of anticipation and disruption, examining their emotional consequences in different cases. Muzaffar Ali's Umrao Jaan provides a virtual catalogue of such disruptions and their emotional effects.

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Uri Hasson, Ohad Landesman, Barbara Knappmeyer, Ignacio Vallines, Nava Rubin, and David J. Heeger

This article describes a new method for assessing the effect of a given film on viewers' brain activity. Brain activity was measured using functional magnetic resonance imaging (fMRI) during free viewing of films, and inter-subject correlation analysis (ISC) was used to assess similarities in the spatiotemporal responses across viewers' brains during movie watching. Our results demonstrate that some films can exert considerable control over brain activity and eye movements. However, this was not the case for all types of motion picture sequences, and the level of control over viewers' brain activity differed as a function of movie content, editing, and directing style. We propose that ISC may be useful to film studies by providing a quantitative neuroscientific assessment of the impact of different styles of filmmaking on viewers' brains, and a valuable method for the film industry to better assess its products. Finally, we suggest that this method brings together two separate and largely unrelated disciplines, cognitive neuroscience and film studies, and may open the way for a new interdisciplinary field of “neurocinematic” studies.

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David Davies

maintains, is manifest in what dancers and observers of dance can do. All that empirical inquiry in cognitive neuroscience can tell us is how these manifest capacities are physically realized . But, McFee maintains, the questions of interest to philosophers

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

cooperative naturalism, Smith argues, a naturalized aesthetics of film and art can be productively pursued by taking advantage of the contributions of evolutionary theory and cognitive neuroscience. The limited space available here prevents me from doing

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

, given its frequent use in film, and because it has figured prominently in scholarship based in music theory, cognitive psychology, and cognitive neuroscience. First, a brief history of the piece: the Adagio for Strings was written by American

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

effect of camera movements on motor cortex activation during action observation .” Journal of Cognitive Neuroscience 26 : 1 – 15 . https://doi.org/10.1162/jocn_a_00602 10.1162/jocn_a_00602 Hickok , Gregory . 2009 . “ Eight problems for the mirror

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Twofoldness in Moving Images

The Philosophy and Neuroscience of Filmic Experience

Joerg Fingerhut

are then to be understood within the cognitive neuroscience as co-constituted by the culturally prevalent properties of pictorial media (which in the case of moving images encompasses exploratory activity within the medium itself), related bodily

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Joerg Fingerhut

Motor Cortex Activation During Action Observation .” Journal of Cognitive Neuroscience 26 ( 9 ): 2087 – 2101 . doi:10.1162/jocn_a_00602 . 10.1162/jocn_a_00602 Hopkins , Robert . 2010 . “Inflected Pictorial Experience: Its Treatment and