torben grodal

is 76 years old and has recently made a new movie, The Fabelmans. But if you think that the film deals with problems related to old age, you are wrong. Again, he turns back to the central trauma that has inspired most of his films: The divorce of his parents when he was about 12 years old. Now this theme is dealt with in a more explicit autobiographical frame even if the family members have got other names. It is the history of the father that disappears and the boy that become fascinated with films. In his childhood Spielberg thought that it was the father that had caused the divorce, and early films has that perspective, but later he finds out that it was the mother that had a relation to the father's best friend, and this again changes the perspective. In very many of his films he tries to portray different solutions to the pain of separation from the parents, with producing a series of transitional object relations and by portraying the interaction of celestial and divine forces.

Virtual Reality experiences, brain, body, and muscular agency – An embodied approach informed by neuroscience For some years there have been experiments with and commercial exploration of so-called Virtual Reality Media. I will discuss how and to what degree the word reality is a meaningful description of the experiences induced by the media. I will look on experiences of reality and presence in some examples of two types of VR: The first type of VR has full 200+ degrees of visual and acoustic immersion – that I call limited VR because the Viewer-Agent (VA) may control their access by means of eye direction and moving of the head, but they have not any control/agency by means of arms/hands or legs. The second type I call full VR and in such VR-types the Viewer-Agent has also have some interactive capabilities based on hands and legs. Thus limited VR may be said to have 'head-agency', whereas full VR also has 'body-motor' agency, and I will later show how these two types of agency partly rely on two different neurological systems and this has major implications for the experiences facilitated by the two different systems. I will discuss the embodied basis of our experience of reality and how the effects of VR are intimately related to the way in which the neurological wiring and programming of our embodied brain frames our VR experience, including discussing why many people have strong negative experiences with VR, resulting in nausea, dizziness and claustrophobia.

Audience Bonding: Film Viewing as Rituals of Emotional Bonding among Viewers The topic of this article is to analyze how the experience of a viewer of film is related to being part of an actual or an imagined audience. Some analyzers of the film experience describe it from the point of view of a viewer-I that look at characters as a third person, a he or she, for instance Carroll (1998) and Plantinga (2009). Other analyzers describe the experience by means of character simulation, a kind of first person perspective where the viewer-I fuses with the character-I. In Moving Picture Grodal (1997) I argued that the film experience may cue not only first person and third person perspectives, but also a 'we' perspective, a 1. person plural perspective.