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The embodied cognition thesis claims that cognitive functions cannot be understood without making reference to the interactions among the brain, the body, and the environment. The meaning of abstract concepts is grounded in concrete experiences. This book explores the impact of the embodied cognition thesis on the scientific study of film. The authors analyze the main aspects of film (narrative, style, music, sound, time, the viewer, emotion, perception, ethics, the frame) from an embodied perspective. By combining insights from various disciplines such as cognitive film theory, conceptual metaphor theory, and cognitive neuroscience, they show how the process of making meaning in film is embodied and how empathy and embodied simulation play a role in understanding the way in which the viewer interacts with the film. Contributors Maarten Coegnarts (University of Antwerp), Peter Kravanja (KU Leuven), Miklos Kiss (University of Groningen), Juan Chattah (University of Miami), Hannah Chapelle Wojciehowski (University of Texas), Michele Guerra (University of Parma), Mark S. Ward (University of Technology, Sydney), Adriano D'Aloia (Universita Cattolica del Sacro Cuore, Milan), Maria J.Ortiz (University of Alicante), Warren Buckland (Oxford Brookes University), Mark Johnson (University of Oregon)
Maarten Coegnarts is finishing a PhD in Film Studies and Visual Culture at the University of Antwerp. Peter Kravanja is a Research Fellow at KU Leuven. Mark Johnson is Knight Professor of Liberal Arts and Sciences, Department of Philosophy, University of Oregon.
FOREWORD Mark JohnsonACKNOWLEDGEMENTS FILM AS AN EXEMPLAR OF BODILY MEANING-MAKING Maarten Coëgnarts and Peter KravanjaPART I FILM FORM AND EMBODIED COGNITIONFILM NARRATIVE AND EMBODIED COGNITION: THE IMPACT OF IMAGE SCHEMAS ON NARRATIVE FORMMiklós KissEMBODIED VISUAL MEANING IN FILMMaarten Coëgnarts and Peter KravanjaFILM MUSIC AS EMBODIMENTJuan ChattahPART II CINEMATIC EMPATHY: ON EMBODIED SIMULATION MECHANISMS AND THE VIEWERTHE FLOATING WORLD: FILM NARRATIVE AND VIEWER DIAKRISISHannah Chapelle WojciehowskiMODES OF ACTION AT THE MOVIES, OR RE-THINKING FILM STYLE FROM THE EMBODIED PERSPECTIVE Michele GuerraART IN NOISE: AN EMBODIED SIMULATION ACCOUNT OF CINEMATIC SOUND DESIGN Mark S. WardTHE CHARACTER'S BODY AND THE VIEWER: CINEMATIC EMPATHY AND EMBODIED SIMULATION IN THE FILM EXPERIENCEAdriano D'AloiaPART III FROM EMBODIED MEANING TO ABSTRACT THOUGHT FILMS AND EMBODIED METAPHORS OF EMOTIONMaría J. OrtizEMBODIED CINEMATIC SUBJECTIVITY: METAPHORICAL AND METONYMICAL MODES OF CHARACTER PERCEPTION IN FILMMaarten Coëgnarts and Peter KravanjaON THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA: PERCEIVING TIME THROUGH THE CHARACTER'S EYESMaarten Coëgnarts and Peter KravanjaEMBODIED ETHICS AND CINEMA: MORAL ATTITUDES FACILITATED BY CHARACTER PERCEPTION Maarten Coëgnarts and Peter KravanjaCOGNITIVE SEMIOTICS REVISITED: REFRAMING THE FRAMEWarren BucklandNOTES BIBLIOGRAPHYFILMOGRAPHYLIST OF CONTRIBUTORS ILLUSTRATION CREDITS INDEX
"A very coherent, useful and strong theoretical contribution to cognitive film studies, edited and written by a highly qualified team of scholars."-Ib Bondebjerg, University of Copenhagen
