Search Results

You are looking at 1 - 9 of 9 items for :

  • "simulation theory" x
  • All content x
Clear All
Restricted access

The Cine-Fist

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

Maria Belodubrovskaya

experience high-level and other-directed emotions such as admiration and pity. In contrast, simulation theory (or embodied simulation theory), which is based on the mirror mechanism, may explain self-directed and sensory emotions, such as fear and disgust

Restricted access

“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

.2.593 Gallese , Vittorio , and Alvin Goldman . 1998 . “ Mirror Neurons and the Simulation Theory of Mind-reading .” Trends in Cognitive Sciences 12 : 493 – 501 . 10.1016/S1364-6613(98)01262-5 Gallese , Vittorio , and Michele Guerra . 2012

Restricted access

Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

contrast to Davies's moderate pessimism and the extreme pessimism that he rightly rejects. The Mirror Neuron Simulation Theory of Action Understanding A principal reason for the excitement generated by the discovery of mirror neurons in macaques was

Restricted access

Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

played in cognition by sensorimotor and affect-related brain circuits. We used embodied simulation theory to approach and discuss key issues in the relationship between spectators, images, and films, such as film style, camera movements, montages, close

Restricted access

Karen Pearlman

and Guerra (2012) draws on neurological research to describe aspects of a spectator’s embodied cognitive activity while watching a film. Embodied simulation theory describes the ways in which mirror neurons in spectator’s brains respond to intentional

Restricted access

Klaus Oschema, Mette Thunø, Evan Kuehn, and Blake Ewing

functionalist view of human understanding, where folk theories of what occurs within an object of experience provide the input for our cognition about the world around us. Simulation theory, which has become more prominent since the 1980s, alternatively suggests

Restricted access

“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

. “Finding the Body in the Brain: From Simulation Theory to Embodied Simulation.” In Goldman and His Critics , ed. Brian P. McLaughlin and Hilary Kornblith , 297 – 317 . Hoboken, NJ : John Wiley and Sons . 10.1002/9781118609378.ch14 Johnson

Restricted access

Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

Neurons: From Grasping to Language .” Paper presented at the conference Toward a Science of Consciousness , Tucson, AZ , 27 April – 2 May . Gallese , Vittorio . 2011 . “ Embodied Simulation Theory: Imagination and Narrative

Restricted access

Acoustic Startles in Horror Films

A Neurofilmological Approach

Valerio Sbravatti

—which I prefer to call the perceiver —is an organism in which mental and bodily functions interact ( D'Aloia and Eugeni 2014: 14–17 ). Likewise, Vittorio Gallese and Michele Guerra's embodied simulation theory states that the perceiver is made up of a