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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

cinema does not reject narrative as the basic structure but adds to it an “impact aesthetic” (e.g., Bordwell 2006 ). Although Eisenstein’s ultimate goal was to agitate his audiences politically, which is not what Hollywood is primarily after (arguably

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Acoustic Startles in Horror Films

A Neurofilmological Approach

Valerio Sbravatti

impact on the listener” ( Coulthard 2017: 57 ; see also Takahashi 2011 ) that is commonly used in contemporary cinema as part of an “impact aesthetic” ( Kerins 2011: chap. 4 ; Smith 2013: 335 ; see also Whittington 2014: 183, n. 2 ): this is because