Brief Description: - Our book is the outcome of five years of intense dialogue, discussions, theoretical and empirical work, jointly carried out by a cognitive neuroscientist and a film scholar and it offers a new multidisciplinary...
moreBrief Description: - Our book is the outcome of five years of intense dialogue, discussions, theoretical and empirical work, jointly carried out by a cognitive neuroscientist and a film scholar and it offers a new multidisciplinary approach to images and film. The main aim of the book is to answer the following questions: Why do people go to the movies? What does it mean to watch a movie? To which extent the perceived fictional nature of movies is different from our daily perception of the real world?
The book proposes that film art, based on the interaction between the viewer and the world on the screen, and often described in terms of immersion, impression of reality, simulation and involvement of the viewer’s body in the fictitious world she inhabits, can be reconsidered from a neuroscientific perspective which looks at the brain and to its tight relation to the body. We propose a new model of perception – embodied simulation – elaborated on the basis of three decades of neuroscientific investigations demonstrating the role played in cognition by sensorimotor and affect-related brain circuits. The book uses Embodied simulation theory to approach and discuss key issues on the relation between spectators, images and films, like film style, camera movements, montage, close-ups, real and fictional worlds, new technologies and media and their impact on our mind and behavior. Scenes from famous films, like Notorius, The Shining, Full Metal Jacket, Persona, The Silence of the Lambs, Toy Story, etc. are described and analyzed from our multidisciplinary approach and used as case studies to discuss our proposal.
The approach is radically new. It addresses a large audience made of film and media studies scholars, cognitive scientists, neuroscientists, psychologists, philosophers, students and lay people who love cinema.
Outline – The book is made of an Introduction, six chapters, a Glossary explaining to the general reader some of the notions and concepts of film theory and neuroscience employed throughout the text, an index of names and a bibliography. The book contains 49 B/W figures.
The Introduction presents our main hypothesis and outlines how it will be addressed in the following chapters. It clarifies why neuroscience is important for our understanding of why we like films and how films engage spectators, provided it adopts an embodied perspective, where the brain is not detached from the body and from its relation to the world.
The First chapter is entitled: ‘A new model of perception: Embodied simulation. It provides the key neuroscientific data enabling the reader to understand how neuroscience will be used in the next chapters to address images and film. Its subheadings are: a) Cinema, brain and empathy, where we discuss the reception of film and introduce the notion of empathy and its history; b) Body, brain, neuroscience, where we we provide a critical account of neuroscience and detail our specific approach; c) From classic cognitivism to embodied cognition, where we outline and criticize two mainstream approaches to social cognition, classic cognitivism and evolutionary psychology; d) Motor Cognition: Movements and motor outcomes, where we explain why and how we should reconceive the cognitive role of the motor system and its role in visual perception; e) Motor Cognition: Area F4 and peri-personal space, where we provide evidence on the role of the motor system in mapping space; f) Motor Cognition: Canonical neurons and objects ‘ready to hand’, where we discuss canonical neurons and their role in object perception; g) Motor Cognition: Mirror neurons and mirror mechanisms, where we introduce mirror neurons in macaques and mirror mechanisms in humans and outline their role in social perception; h) Emotions, sensations and embodied simulation, where we describe the role of embodied simulation in the perception of the emotions and sensations of others; i) The subject as corporeality between reality and imagination: Liberated embodied simulation, where we introduce the aesthetic specificity of our model of visual perception and explain how it could be applied to film viewing and more generally to fiction; j) Brain-body and the big screen, where we discuss how neuroscience has been applied so far to study film and cinema.
The Second chapter is entitled: False movements and impossible gazes. In this chapter we discuss how cinema is able to produce the sense of body immanence, allowing spectators to identify with the characters they see on the screen. Its subheadings are: a) Who did move?, where we analyze famous scenes for Alfred Hitchcock’s Notorius, Robert Montgomery’s Lady in the Lake and Delmer Daves’s Dark Passage to discuss how cinema is able to create a subjective perspective; b) Resonating with movement, where we discuss the pertinence of neuroscience to the issues introduced in the preceding pages; c) Positions, where we address the mind-movie problem; d) Sherlock Jr., where the problem of spatial segregation between screen and spectators is addressed by discussing scenes from Buster Keaton’s film Sherlock Jr.
The Third chapter is entitled: Camera movements and motor cognition and addresses the role of camera movement in generating spectators’ immersion in the narrated film plot. Its subheadings are: a) Style, where we trace the bodily origins of the notion of style and discuss how film style has been addressed by film scholars; b) Moving the camera, where we address the stylistic role of camera movements in film history; c) Kubrick interlude, where we discuss from our perspective several films of this author, like Barry Lyndon, The Shining and Full Metal Jacket and introduce the steadycam; d) Moving mirrors, where we present our empirical results on the role of camera movements in generating spectators immersion, empathy and identification with film characters.
The Fourth chapter is entitled: The cut and harmony. It deals with montage. Its subheadings are: a) Calumet City, where we discuss from our perspective parallel montage in Jonathan Demme’s The Silence of the Lambs; Continuity, where continuity editing is addressed by relating to several film scholars and authors like Jospeh Anderson, Lev Kuleshov, Jean Epstein; c) Action, action, action!, where the role of action in montage is addressed by referring to early film theorists like Winthrop Sargent, Henry Albert Phillips, Vachel Lindsay, and the novel writer Paul Auster; d) A crack in the mirror, where we introduce and discuss our empirical neuroscientific results on montage.
The Fifth chapter is entitled: The face and the hands. It discusses close-ups of the face and body in relation to film and neuroscience. Its subheadings are: a) Self-touching in front of a mirror, where we introduce and discuss the opening scenes of Ingmar Bergman’s Persona; b) The somatosensory system and multimodality, where we address the notion of multimodality, and explain how the brain processes touch and pain; c) The social perception of touch, where we explain how the brain processes the vision of touch; The sensible film, where scenes from Jean Luc Godard’s Une Femme Marriée are analyzed and propose how the notion of ‘haptic vision’ discussed by film theorists can be approached from a neuroscientific perspective; d) Animations, where we propose that our model of embodied simulation can be used to explain the sense of presence generated by animation films, analyzing Jan Svankmejer’s films and Pixar’s Toy Story.
The Sixth Chapter is entitled: New mediations, new films, new experiments. It projects our proposal into the future by discussing new digital technologies and mediations and their impact on film and its reception. Its subheadings are: a) New positions, where we introduce the future of film and cinema in the light of new technologies and the few empirical studies addressing these issues; b) Digital presence, where we propose how our model can help formulating new theoretical and empirical approaches; d) Death on the chat line, where we introduce the film Unfriended and discuss how new mediations of filmic content reshape our relation to the film; e) A new filmic grammar, where we introduce action cams and their new impact on film viewing; f) End of the screen?, where we envision how the new filmic mediation may generate a new form of film reception.
Next is a Glossary of terms with 30 entries listed in alphabetical order, from Action cams to Zoom.
The book ends with a bibliography and a list of names.
Outstanding Features List – The book is ambitious as it proposes a radically new approach to cinema and film. It doesn’t ask ‘what is cinema’, but ‘why do we love films’ and ‘how do they work’. The use of neuroscience is novel as it showcases an integrated approach that can purchase a double gain: on the one hand, by applying neuroscience to film reception it allows to reformulate and redefine several aspects of film theory; on the other, by discussing brain function against the background of film theory, it helps our understanding of the brain-body contribution to the unique human capacity to constantly inhabit the real world and the parallel worlds of fiction. The book avoids scholar jargon and it offers the opportunity to a wide audience of readers to get deeper into the understanding of film and of the brain-body, combining clarity with intellectual depth.