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Film as Embodied Art
How do the films of Kubrick communicate mental events of characters in a purely visual manner? And how does the music in his films express meaning when music in essence is an abstract and non-representational art form? Drawing on state-of-the-art discoveries within embodied cognitive science, this book sets out to address these and other questions by revealing Kubrick as a genuine artist of embodied meaning-making, a filmmaker who perhaps more than any other director, uses all the resources of filmmaking in such a controlled and dense manner as to elicit the embodied tools necessary to achieve a level of conceptual clarity.
Embodied Cognition and Cinema
The impact of the embodied cognition thesis on the scientific study of film The embodied cognition thesis claims that cognitive functions cannot be understood without making reference to the interactions between the brain, the body, and the environment. The meaning of abstract concepts is grounded in concrete experiences. This book is the first edited volume to explore the impact of the embodied cognition thesis on the scientific study of film. A team of scholars analyse the main aspects of film (narrative, style, music, sound, time, the viewer, emotion, perception, ethics, the frame, etc.) from an embodied perspective. By combining insights from various disciplines such as cognitive film th...
Video Games and the Mind
Can a video game make you cry? Why do you relate to the characters and how do you engage with the storyworlds they inhabit? How is your body engaged in play? How are your actions guided by sociocultural norms and experiences? Questions like these address a core aspect of digital gaming--the video game experience itself--and are of interest to many game scholars and designers. With psychological theories of cognition, affect and emotion as reference points, this collection of new essays offers various perspectives on how players think and feel about video games and how game design and analysis can build on these processes.
The Oxford Handbook of Children's Film
Exploring cultural and social differences in defining a children's film / Becky Parry -- Screening innocence in children's film / Debbie Olson -- Screen adaptations of the Wizard of OZ and metafilmicity in children's film / Ryan Bunch -- Children's films and the avant-garde / Bettina Kümmerling-Meibauer -- Intertextuality and 'adult' humour in children's film / Sam Summers -- Children's film and the problematic 'happy ending' / Noel Brown -- The cop and the kid in 1930s American film / Pamela Robertson-Wojcik -- History, forbidden games, children's play, and trauma theory / Ian Wojcik-Andrews -- Changing conceptions of childhood in the work of the Children's Film Foundation / Robert Shail -...
Life 24x a Second
"Life 24x a Second: cinema, selfhood, and society is about the life-sustaining and life-affirming power of cinema. As we confront the devastating reality of the Covid-19 pandemic, our obligation to explain the value of all artistic expression and pedagogical practice has surely never been greater. Life 24x a Second: cinema, selfhood, and society adopts multiple perspectives on why films matter, with special attention to hearing the soundtracks that move through our bodies and which we can carry with us into the world at large. Drawing on work by authors across disparate fields of literature, business, psychology, biological science, cinema, autobiographical, and cultural studies, this book m...
Space, Gender, and the Gaze in Literature and Art
This volume explores how the concepts of space and gaze are tied in with social constructions of gender relations. It discusses the gendered body, the queer gaze, the relationship between body and memory, the memory of war, monstrosity, and also domestic and hybrid spaces as key concepts. The arguments within the book connect core theoretical issues of gender and space to well-known literary texts and contexts, like the poems of Sylvia Plath and the novels of Don DeLillo, Toni Morrison and Cormack McCarthy. The collection will be of interest to university students and instructors alike, as an extended introduction to critical and theoretical discourses on gender and space.
Caught In-Between
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.
Ethics of Cinematic Experience
Ethics of Cinematic Experience: Screens of Alterity deals with the relationship between cinema and ethics from a philosophical perspective, finding an intrinsic connection between film spectatorship and the possibility of being open to different modes of alterity. The book’s main thesis is that openness to otherness is already found in the basic structures of cinematic experience. Through a close examination of the ethical relevance of the philosophy of Maurice Merleau-Ponty, Stanley Cavell, Emmanuel Levinas and Gilles Deleuze to cinema studies, Ethics of Cinematic Experience: Screens of Alterity pursues the question of how film can open the viewer to what is not her, and so bring her to e...
The Prison of Time
We are imprisoned in circadian rhythms, as well as in our life reviews that follow chronological and causal links. For the majority of us our lives are vectors directed toward aims that we strive to reach and delimited by our birth and death. Nevertheless, we can still experience fleeting moments during which we forget the past and the future, as well as the very flow of time. During these intense emotions, we burst out laughing or crying, or we scream with pleasure, or we are mesmerized by a work of art or just by eyes staring at us. Similarly, when we watch a film, the screening time has a well defined beginning and end, and screening and diegetic time and their relations, together with na...
History by HBO
The television industry is changing, and with it, the small screen's potential to engage in debate and present valuable representations of American history. Founded in 1972, HBO has been at the forefront of these changes, leading the way for many network, cable, and streaming services into the "post-network" era. Despite this, most scholarship has been dedicated to analyzing historical feature films and documentary films, leaving TV and the long-form drama hungry for coverage. In History by HBO: Televising the American Past, Rebecca Weeks fills the gap in this area of media studies and defends the historiographic power of long-form dramas. By focusing on this change and its effects, History ...
