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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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The Neuroscience of Film

Vittorio Gallese and Michele Guerra

mental representations, either with a bodily content (representations of the body) or with a bodily format. The theory of embodied simulation chooses the second option, namely that the bodily format of a mental representation constrains what such mental

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Editing and Cognition Beyond Continuity

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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Triangulation Revisited

Murray Smith

), it is certainly possible to view The Empathic Screen through the lens of triangulation. And there is significant overlap and resonance between one of the core arguments in The Empathic Screen , concerning the role of embodied simulation in film

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Cranes, Drones and Eisenstein

A Neurohumanistic Approach to Audio/Visual Gestures

Anna Kolesnikov

bring Eisenstein's model of third culture into the twenty-first century. Notably, the discovery of a direct link between perception and action ( Gallese et al. 1996 ), the theory of embodied simulation ( Gallese 2005 ), and the interdisciplinary research

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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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Enactive Authorship

Second-Order Simulation of the Viewer Experience—A Neurocinematic Approach

Pia Tikka

author's enactive simulation of the protagonist. This will be discussed against the foundation of the enactive cognitive science ( Varela et al. 1991 ), embodied simulation ( Gallese 2005 ), and enactive cinema ( Tikka 2008 ). The theoretical framework

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

the emotions of film characters with our mirror neurons but also the anthropomorphic movements of the camera recording them. We maintain that the functional mechanism of embodied simulation expressed by the activation of the diverse forms of

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Film, Art, and the Third Culture

A Response

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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A Cognitive-Affective Approach to Foregrounding Categorical-Thematic Patterns in Popular Cinema

Bartosz Stopel

connection to embodied simulation and PECMA flow theory ( Ros and Kiss 2018 ). Paul Taberham has offered important and more extensive discussions of how various types of avant-garde films engage cognition and perception (2018) and how they can be accounted