, Bradford Young; and the film’s various editors. Arrival is a bona fide puzzle film, insofar as it deliberately scrambles the temporal and spatial contexts that viewers rely on in order to create mental narratives and episodic memories. The complex
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When the Future Is Hard to Recall
Episodic Memory and Mnemonic Aids in Denis Villeneuve’s Arrival
Hannah Chapelle Wojciehowski
Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi
They Did It .” Digital Trends , 17 December 2017 . https://www.digitaltrends.com/movies/baby-driver-music-sound-effects/ . Miklós Kiss and Steven Willemsen, Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema
Brian Bergen-Aurand
Screen Bodies 3.2 engages with a wide variety of topics—fat studies, contemporary queer cinema, (pre)posterity, puzzle films, grief and truth in filmmaking, feminist materialism, digitized bodies, food and horror, and Maghrebi cinema. As well, the selection of articles in this issue represents studies of several media—tv programs, films, publicity stills, and photographs—from a number of locations around the globe—North America, Europe, Africa, and Asia. What holds this general issue together, though, is a concern over expectation, assumption, and supposition: what we suppose screens and bodies do and what we suppose they do not do. As usual, with this journal, the focus of this consideration is doublehanded: screen as projection and screen as prohibition. The articles below explore the duality of screens and our responses to them. They engage screening expectation as showing, exposing, divulging, and, at the same time, as testing, partitioning, and withholding. To screen expectation is to reveal and conceal it, and, as these articles argue—each in their own way—this process is what we all engage in when we engage with screening.
Stephen Prince
Solomon’s ideas about the physical anxiety of form, that is, the extent to which his films prompt tactile and somatic experiences. Maarten Coëgnarts et al. examine certain kinds of puzzle films that break with perceptible continuities of time and space by
Ted Nannicelli
) focuses on a lower-order interpretive matter—namely, the viewer’s process of piecing together the narrative of a puzzle film. One implication of Wojciehowski’s article—that the filmmakers’ intentional jumbling of narrative pieces in a particular fashion
Disrupted PECMA Flows
A Cognitive Approach to the Experience of Narrative Complexity in Film
Veerle Ros and Miklós Kiss
association areas (puzzle films). (5) Matches are found, but their resolution into a prototypical narrative is delayed indefinitely, resulting in a sustained overactivation of association areas (impossible puzzle films). We suggest that five different
Héctor J. Pérez
Puzzle Films (so called because they pose a cognitive challenge to the viewer), an anthology that contextualized the rise of the plot twist film as part of a broader trend in complex narrative storytelling ( Buckland 2009 ). More recently, Warren
Seeing Yourself in the Past
The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception
Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen
( Campora 2014 ) narratives, puzzle films ( Buckland 2009 , 2014 ), riddle films ( Kiss 2013 ), or impossible puzzle films ( Kiss and Willemsen forthcoming 2016 ). Despite the use of various labels to diagnose this trending strategy in contemporary films
Wyatt Moss-Wellington
Warren Buckland in his introduction to Puzzle Films (2009: 7) and Gerwin van der Pol (2013) in his analysis of Krzysztof Kieslowski’s 1979 film Amator have both noted that film theorists discuss but never quite name cognitive dissonance. Van
How Motion Shapes Thought in Cinema
The Embodied Film Style of Éric Rohmer
Maarten Coëgnarts
.001.0001 Kiss , Miklós , and Steven Willemsen . 2017 . Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema . Edinburgh : Edinburgh University Press . 10.3366/edinburgh/9781474406727.001.0001 Kövecses , Zoltán . 2000
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