Reprint from Embodied Cognition and Cinema

Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

Embodied Cognition and Cinema EDITED BY MAARTEN COËGNARTS AND PETER KRAVANJA WITH A FOREWORD BY MARK JOHNSON

Leuven University Press

Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 3

25/06/15 20:24

© 2015 by Leuven University Press / Universitaire Pers Leuven / Presses Universitaires de Louvain. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 978 94 6270 028 4 D/2015/1869/22 NUR: 670 Cover illustration: “The Go-Between” © 1971, Renewed 1999 Columbia Pictures, a division of Columbia Pictures Industries, Inc. All Rights Reserved. Courtesy of Columbia Pictures © 1970 STUDIOCANAL Films Ltd. Cover design en lay-out: Frederik Danko


25/06/15 20:24

We had the experience but missed the meaning, And approach to the meaning restores the experience In a different form, beyond any meaning We can assign to happiness. T.S. Eliot, Four Quartets


25/06/15 20:24

TA B L E O F C O N T E N T S FOREWORD 9

Mark Johnson ACKNOWLEDGEMENTS 15 FILM AS AN EXEMPLAR OF BODILY MEANING-MAKING

17

Maarten Coëgnarts and Peter Kravanja

PART I

FILM FORM AND EMBODIED COGNITION

FILM NARRATIVE AND EMBODIED COGNITION: THE IMPACT OF IMAGE SCHEMAS ON NARRATIVE FORM

43

Miklós Kiss EMBODIED VISUAL MEANING IN FILM

63

Maarten Coëgnarts and Peter Kravanja FILM MUSIC AS EMBODIMENT

81

Juan Chattah

PART II

CINEMATIC EMPATHY: ON EMBODIED SIMULATION MECHANISMS AND THE VIEWER

THE FLOATING WORLD: FILM NARRATIVE AND VIEWER DIAKRISIS

115

Hannah Chapelle Wojciehowski MODES OF ACTION AT THE MOVIES, OR RE-THINKING FILM STYLE FROM THE EMBODIED PERSPECTIVE

139

Michele Guerra ART IN NOISE: AN EMBODIED SIMULATION ACCOUNT OF CINEMATIC SOUND DESIGN

155

Mark S. Ward 6 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 6

25/06/15 20:24

THE CHARACTER’S BODY AND THE VIEWER: CINEMATIC EMPATHY AND EMBODIED SIMULATION IN THE FILM EXPERIENCE

187

Adriano D’Aloia

PART III

FROM EMBODIED MEANING TO ABSTRACT THOUGHT

FILMS AND EMBODIED METAPHORS OF EMOTION

203

María J. Ortiz EMBODIED CINEMATIC SUBJECTIVITY: METAPHORICAL AND METONYMICAL MODES OF CHARACTER PERCEPTION IN FILM 221

Maarten Coëgnarts and Peter Kravanja ON THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA: PERCEIVING TIME THROUGH THE CHARACTER’S EYES

245

Maarten Coëgnarts and Peter Kravanja EMBODIED ETHICS AND CINEMA: MORAL ATTITUDES FACILITATED BY CHARACTER PERCEPTION

271

Maarten Coëgnarts and Peter Kravanja COGNITIVE SEMIOTICS REVISITED: REFRAMING THE FRAME

295

Warren Buckland NOTES 309 BIBLIOGRAPHY 325 FILMOGRAPHY 357 LIST OF CONTRIBUTORS 359 ILLUSTRATION CREDITS 363 INDEX 365

7 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 7

25/06/15 20:24

Embodied Cinematic Subjectivity: Metaphorical and Metonymical Modes of Character Perception in Film MAARTEN COËGNARTS AND PETER KRAVANJA

INTRODUCTION Research in neuroscience and cognitive science increasingly shows that human concepts are rooted in common bodily knowledge, i.e., they are grounded in our sensory-motor experiences (e.g., Barsalou “Grounded”, “Perceptual”; Gallese and Lakoff). For instance, growing empirical evidence in the field of cognitive linguistics suggests that human reasoning about abstract concepts (e.g., mind, time, causality) is structured in terms of concrete concepts related to the functioning of our bodies (e.g., Boroditsky and Ramscar; Lakoff and Johnson; Sweetser). Sweetser, for example, has argued that there is an extensive subsystem of metaphors for the mind in which mental functions are conceptualized in terms of different kinds of physical functioning (28-32). One particular case of this metaphor, which she labels the mind is a body metaphor, is that of mental function is perceptual experience in which internal mental activities (e.g., thinking, knowing, understanding, imagining, etc.) are understood in terms of external perceptual experiences (e.g., hearing, seeing, touching) (Yu “The Eyes” 669). Often cited in this regard is the metaphor understanding is seeing, which underlies many English expressions such as “I see what you’re saying” or “I don’t see the point” (Johnson The Meaning 165; Lakoff and Johnson Philosophy 238; Sweetser 38; Yu “Chinese” 149; Yu “The Eyes” 669). In addition, vision has been categorized and analysed not only as a source domain, but as a target domain as well. Since it is a subjective and abstract activity, some scholars have argued that humans conceptualize the mental process of seeing in terms of the tactile knowledge domains of touch and reception (Lakoff “Reflections”; Sweetser; Yamanashi; Yu “Chinese”, “The Eyes”). Consider, for example, such linguistic expressions as “Their eyes met” or “The view blew me away” (Lakoff “Reflections” 133-135). There is, however, one important challenge to the metaphorical use of perception as both a source domain and a target domain. In order to validate 221 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 221

25/06/15 20:26

M A A R T E N C O Ë G N A R T S A N D P E T E R K R AVA N J A

the claim of Conceptual Metaphor Theory (CMT) that this distinction and its corresponding metaphors are primarily a matter of thought and only derivatively a matter of language, CMT needs to expand its research to include not only linguistic examples, but also non-verbal data. Indeed, if the metaphors of perception are primarily conceptual, as Lakoff argues (“Reflections” 134), then it is only plausible to assume that there are other, non-linguistic correlates to the conceptual mappings as well (see also Forceville “Non-verbal”; Johnson The Meaning; Pecher, Boot and Van Dantzig). Only recently, this assumption has found its application into a certain number of papers that consider embodied cognition, and conceptual metaphor in particular, from a non-linguistic and filmic perspective (Branigan “How Frame Lines”; Coëgnarts and Kravanja; Fahlenbrach “Embodied Spaces”, “Emotions”; Forceville ‘The Journey”; Forceville and Jeulink; Forceville and Renckens; Ortiz; Rohdin). However, little attention has been given to the question as to how the metaphors of perception can express themselves in purely filmic terms. This chapter, then, is an inquiry into the metaphorical and metonymical underpinnings of character perception in film. More specifically, our contribution will focus its attention on the different ways in which the abstract target domain of perception can be elicited cinematically. The choice of analysing perception first as a target domain, rather than as a source domain, is instigated by the underlying idea that we first need to know how the perceptual states of characters can be metaphorically and metonymically structured in film, before we can further discuss its metaphorical and semantic extensions, two of which (i.e., time and morality) will be addressed in the two subsequent chapters of this volume. Our contribution is structured as follows. The first part considers CMT and aims to provide the reader with a brief overview of the main literature concerning the metaphorical and metonymical modes of perception. The second part deals with film studies. It attempts to frame the question of perception within Jens Eder’s heuristic core model of characters. Indeed, if we want to consider character perception as the central target domain of our analysis, then it is first necessary to define it before we can relate it to the question of how it can be construed metaphorically and metonymically at the filmic level. The third and final part of this chapter, then, aims to show how both the metaphorical and metonymical relationships of perception, as outlined in the first section, can be addressed cinematically in order to represent the characters’ perceptual activities, as defined in the second section. 222 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 222

25/06/15 20:26

E M B O D I E D C I N E M AT I C S U B J E C T I V I T Y

1. METAPHORS AND METONYMIES OF PERCEPTION When considering the commonality of the underlying conceptual systems across languages, visual metaphors or more general metaphors of perception are often hailed as one of the most universal conceptual metaphors. That is, a number of studies indicate that languages, despite their cultural differences, use the same kind of tactile information to structure the concept of perception (Sweetser; Yu; Yamanashi). In CMT this constitution or grounding takes the form of a metaphorical relationship in which perception is perceived as an inaccessible abstract target domain that needs to be clarified by more accessible physical and concrete source domains. In his detailed examination of perceptual metaphors in both Japanese and English, Masa-aki Yamanashi, for example, distinguishes three ways by which our visual or perceptual experience can be conceptualized (158-164). Let us briefly discuss each in turn. The first general relationship involves the human visual field. It states that we conceptualize visual fields in terms of containers, that is, when we look at some object or entity, we conceptualize what we see as being something inside it (Lakoff and Johnson Metaphors 30). As Lakoff and Johnson argue, this metaphorical concept, which they verbalize as visual fields are containers, emerges naturally in that when we look at some territory, our field of vision automatically defines a bounded physical space (i.e., the part that we can see). Examples include such English expressions as “The ship is coming into view,” “That is in the centre of my field of vision” or “There is nothing in sight” (Lakoff and Johnson Metaphors 30). The second and third relationships are grounded in human tactile experiences, and refer to the duality of perception, as first outlined by Lakoff (“Reflections” 139) and further discussed by Yamanashi and Yu (“The Eyes”). They consider a distinction made by Lakoff between two types of metaphors, both involving the physical domain of movement: perceiving is touching and perception is reception (“Reflections” 139; see also Yu “The Eyes” 676). In the first conceptual metaphor there is a mapping from the source domain of touching onto the target domain of perceiving. In this metaphor perception occurs “when the perceiver moves his organs of perception to the thing perceived and touches it” (“Reflections” 139).1 Examples include such expressions as “My eyes picked out every detail of the pattern” or “My gaze is out over the bay” (Lakoff “Reflections” 133). As Lakoff points out, the words ‘gaze’ and ‘eyes’ are conceived metaphorically as visual limbs that can reach out and touch things. Furthermore, he argues that the conceptual metaphor consists of a set of systematic conceptual mappings from the source domain onto the target domain (see Table 1). 223 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 223

25/06/15 20:26


Source domain knowledge Limbs can be directed A limb can go in only one direction at a time Limbs can extend from the body to other objects Tactile perception occurs when a limb touches an object Limbs can pick out objects

Target domain knowledge Vision can be directed Vision can go in only one direction at a time Vision can move from the body to other objects Visual perception occurs when the gaze touches an object Vision can pick out objects

Table 1. The conceptual mappings of the seeing is touching metaphor (after Lakoff “Reflections” 133-134).

By contrast, in the second conceptual metaphor there is a mapping from the source domain of reception onto the target domain of perceiving. In this metaphor perception occurs “when the thing perceived moves to the perceiver’s organs of perception” (“Reflections” 139). Examples include such expressions as “A comet came into my sight” or “The noise came through the walls” (“Reflections” 139). In both sentences, perception is construed in terms of perceptual sense impressions which reach the perceptual organs. Both metaphors are special cases of a more general metaphor, which Lakoff labels the perception is contact between perceiver and perceived metaphor (“Reflections” 139). Using Langacker’s constructional notion of ‘sequential scanning’ (245), then, one can visualize both metaphors as in Figures 1 and 2.

Figure 1. Sequential scan of visual perception as touch. 224 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 224

25/06/15 20:26


Figure 2. Sequential scan of visual perception as reception.

In both cases, the underlying schema at work is the source-path-goal image schema (e.g., Forceville and Jeulink; Johnson The Meaning 183, The Body 113). Both metaphors involve movement from a starting point (perceiver and object perceived, respectively), over a pathway, towards an end point (object perceived and perceiver, respectively). Successful perception, then, takes place when the character’s gaze or the sense stimuli ‘reach’ the target (the object perceived and perceiver, respectively). Moreover, both metaphorical duals involve metaphorical mappings that are characterized by a typical perceptual mechanism from Gestalt psychology called ‘figure-ground segregation’ (Evans and Green 65), that is, “(1) the mappings in question are based on relative motion between two entities, (2) one of them is fixed while the other moves, and (3) which of the two entities gets fixed or moves depends on the conceptualizer’s cognitive capacity of focusing” (Yamanashi 166). In addition to the three metaphorical relationships discussed above, some scholars have also pointed to the underlying metonymical structure of perception, stating that the perceptual organ usually stands for perception as a whole (Barcelona; Hilpert; Yamanashi; Yu). As Yu argues, “eyes and brows are such important features of the human face that they together stand for the whole face or looks” (“The Eyes” 665). Consider, for example, the following linguistic expression: “They keep an eye on the youngsters” (Hilpert 130). In this example, which involves visual perception, the phrase keep an eye on is mapped onto the metonymical target domain of seeing. Hilpert refers to this metonymical extension of the eye as the instrument for activity metonymy eyes stand for seeing (130), which, in turn, can be subsumed, according to Barcelona, under the more general basic conceptual metonymy body part for its typ225 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 225

25/06/15 20:26


ical functions and for the attributes connected with them (265-6). Similarly, Yamanashi has argued that the Japanese word me, meaning ‘eyes,’ only “metonymically represents a visual field, which in turn is conceptualised as a container” (159). In sum, then, one can schematize the underlying metaphorical and metonymical configuration of perception as in Figure 3.

Figure 3. The metaphorical and metonymical structure of perception.

In what follows, we will discuss both conceptual relationships, the metonymical and the metaphorical, from the perspective of character perception in film. By doing so, we are replacing the general concept of (human) perceptual experience with a narrower concept of perception which has its roots in narration and literary theory. Hence, before we can start analysing the cinematic representation of character perception in the light of the above schema, we first need to deﬁne more precisely what the concept of character perception entails.


25/06/15 20:26


2. F RAMING PERCEPTION WITHIN THE ANALYSIS OF CHARACTERS Traditionally speaking, the study of characters’ perception falls into the much debated narratological domain of ‘focalization’ and similar terms such as ‘point of view’ (henceforth POV) and ‘mental perspective.’ Originally developed by the French narrative theorist Gérard Genette, the notion of focalization refers to a typology of three different narrative situations (189-190). The first type is labelled ‘zero focalization’ or ‘non-focalized narrative’ and refers to the ‘omniscient narrator.’ The second type is called ‘internal focalization’ and corresponds to the situation where the narrative is focused through the consciousness of a character. The third type is defined as ‘external focalization’ and describes the situation where the narrative is focused on a character, not through him or her. The discussion of perception from a character’s perspective, then, can be placed under the character based level of focalization: the presentation of the story through the perceptual, conceptual, and other mental equipment of a character. To situate the focus of our chapter within the discussion of characters in film, we would like to draw upon the heuristic core model offered by Jens Eder. For the practice of character analysis, this author has distinguished between four key aspects of characters (21-22). Firstly, as artefacts, they are shaped by audiovisual information. This aspect involves the key question of how and by what means characters are represented. Consequently, this kind of analysis rests upon the description of stylistic devices and others kinds of filmic information. Secondly, as fictional beings they have certain bodily, mental and social features. The central task here is to define those features by means of a formulation of mental models of the characters. Thirdly, as symbols they impart higher-level meanings, i.e., they may function as signs for something else. To analyse this aspect is to find an answer to the question as to what characters stand for and what indirect meanings they carry. Fourthly and lastly, as symptoms they point to socio-cultural causes in their production and to effects in their reception. Underlying this aspect is the following question: what causes characters to be as they are, and what effects do they produce? Within this ‘clock of character,’ as Jeder calls it, the question of character perception can be conceptually related to the level of fictional beings, that is, perception is a feature that the character possesses. Moreover, it involves a mental feature of the character. For this reason it can be further catego227 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 227

25/06/15 20:26


rized under (what Eder labels) the more general property domain of the mind, which overlaps but also distinguishes itself from other property domains of the fictional being such as corporeality (i.e., the external appearance and body language of characters) and sociality (i.e., the group membership of characters) (see Figure 4). These three domains are anthropological in the sense that they correspond to the three most general property domains of humans.

Figure 4. The three most general property domains of characters as fictional beings (after Eder 23-26).

As Eder argues, one way to analyse the minds of characters (i.e., their inner life and personality) is to examine what is distinctive for them with regard to their mental faculties (24). In addition to perception, this includes the interaction of such component mechanisms as memory, imagination, attention, sensibility, and so on (see Figure 5).2

Figure 5. A selection of the mental faculties of the character’s mind. 228 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 228

25/06/15 20:26


It is within the property domain of the mind, then, that one may draw on the theoretical tools of Conceptual Metaphor Theory to help structure the conceptualization of these faculties. As we saw in the previous section, cognitive linguistics proposes a major conceptual system according to which the mental faculties of the mind can be understood metaphorically in terms of bodily knowledge. Especially with regard to the faculty of perception, one might infer the following two premises on the basis of the existing literature within cognitive linguistics: 1) The cinematic construal of character perception is metaphorically and metonymically grounded in bodily knowledge. 2) The cinematic construal of character perception, once itself metaphorically and metonymically clarified, can be further extended to structure other mental faculties of the character (e.g., cognition, imagination, memory, etc.). The intimate connection between the mental faculty of character perception, on the one hand, and other mental faculties of character subjectivity (e.g., cognition, imagination, etc.), on the other (which underlies the second premise), has also been identified by many other scholars in the field of film studies (e.g., Branigan Narrative; Gaut; Grodal Embodied; Kawin; Kuhn; Reinerth; Wilson). However, few have pointed to the underling metaphorical and metonymical structure of these faculties. In the next section, then, we will examine the first premise. More specifically, we will show how the two conceptual models of perception, as outlined in the previous section, namely the conceptual metonymy perceptual organ stands for perception and the conceptual metaphor perception is contact between perceiver and perceived, are cinematically shaped by audiovisual means. Consequently, by addressing the formal question of representation, we are simultaneously analysing the character as an artefact (cf. Jens Eder’s first aspect of characters). 3. T HE METAPHORICAL AND METONYMICAL STRUCTURING OF CHARACTER PERCEPTION IN FILM Having sketched out the underlying metaphorical and metonymical structure of perception (section 1), and having framed the concept within the analysis of characters (section 2), we are now able to consider the following question: how are the metaphorical and metonymical relationships of perception, as outlined 229 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 229

25/06/15 20:26

EMBODIED COGNITION AND CINEMA

in the first section, to be conceived at the filmic level? Consequently, this question divides into two sub-questions: I.

II.

How is the conceptual metonymy character’s perceptual organ stands for perception shaped by the devices and techniques of filmmaking? How is the conceptual metaphor character’s perception is contact between perceiver (PR) and the object being perceived (OP) shaped by the devices and techniques of filmmaking?

The first question can be answered in a relatively uncomplicated manner. From a non-verbal and filmic perspective, the abstract target domain of perception can be triggered indirectly or metonymically by showing enough distinctive bodily features of the character so as to enable the viewer to recognize or infer the perceptual organs of the character (e.g., eyes, ears).3 This condition, however, is rather vague and could suggest mistakenly that every visualization of a perceptual organ is metonymically intended. Hence, in order to avoid being too generic some additional conditions are necessary. A first important condition concerns the distance between the camera and the character’s perceptual organ. The shorter the distance between the camera and the character’s facial features, the likelier it is that the shot will be conceived of as standing for perception as a whole. By contrast, if a person, for example, is rendered in a very long shot, it is much less likely that the target domain of perception will be triggered for the viewer, as the perceptual organ is less visible due to the larger distance between the camera and the organ. Shot size, albeit crucial, is, however, not the only condition to be fulfilled before the metonymical connection to the target domain of perception can be made. The perceptual organ represented also has to be directed towards something (i.e., the perceived object). Perceiving, like any other type of consciousness, entails intentionality: seeing is seeing something, hearing is hearing something, and so on. The character’s perceptual organ needs to be directed towards the perceived object. In film this object can be located either on-screen or offscreen. Often the direction of the perceptual organ is helpful in triggering this intentional act. For instance, a character seeing something which is off-screen for the viewer, will most likely gaze towards the side of the frame where the object is situated. This bodily gesture in turn allows the viewer to deduce the location of the perceived object (and by extension the idea that the character 230 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 230

25/06/15 20:26


is probably engaged in the act of perceiving). In addition, the act of perceiving can also be further accentuated by attributes belonging to the visual content of the shot such as a window or binoculars (i.e., looking through something). The answer to the second question is of a more complex nature. Strictly speaking, the contact between PR and OP can be elicited cinematically by four main strategies divided into two categories: the category of the single shot and the category of two shots (see Table 2).

Single shot

Two shots

Homospatiality By showing PR and OP together in one shot (e.g., framing or mise-

Non-homospatiality By moving from PR to OP (e.g., tracking, panning, tilting, zoom-function)

en-scène) By cutting from PR to OP By presenting PR and OP, each occupying (e.g., editing) a different shot, as co-present or homospatial entities in the same frame (e.g., superimposition, split screen)

Table 2. Categorization of the cinematic ways in which the contact between PR and OP can be elicited.

Within each category both participating elements can be shown simultaneously on-screen or not. As in the previous section, the former case will be labelled ‘homospatiality.’4 However, we use the concept in a slightly different manner here to refer to the co-presence of PR and OP in the same larger frame (rather than to the co-presence of source and target). Thus, if each entity occupies a different space in a different shot, albeit in the same larger frame (for example, in the case of split screen or superimposition), homospatiality is applicable. We now proceed to a more detailed discussion of each strategy. The various devices have been differentiated for analytical purposes, but they often work together or are intertwined. We commence our discussion with the category of the single shot.


25/06/15 20:26


3.1. Framing and mise-en-scène In the first strategy the source domain of perception, contact between perceiver and perceived, is construed cinematically by showing both entities simultaneously on-screen in one single uninterrupted shot. Theoretically speaking, this strategy entails seven possibilities, each depending on (1) the type of shot (subjective, semi-subjective, or objective) and (2) the presence of a reflective surface in the visual content of the shot (e.g., mirror, water, etc.) (see Table 3). Reflective (OP=PR) Subjective POV shot (I) Semi-subjective Non-POV shot (III) Objective Non-POV shot (V)

Reflective (OP≠PR)

Non-reflective (OP≠PR) POV shot (II) Non-POV shot (IV)

Non-POV Non-POV shot (VII) shot (VI)

Table 3. Categorization of the cinematic ways in which the contact between PR and OP can be elicited in one single shot with homospatiality (i.e., via framing or mise-en-scène).

Either the relationship between PR and OP is established in a POV shot or it is not. In the former, subjective case, the visual content of the shot is wholly determined by the perceiver’s perceptual field of vision (i.e., the perceived objects). This type designates two forms depending on whether or not the perceiver perceives his own perceptual organs in the POV shot. In the first case, the reflective variant of the subjective shot (type I), the perceiver coincides with the object perceived (OP=PR). The perceiving character sees himself or herself mirrored in the surface of a reflective object in the mise-en-scène. For instance, Robert Montgomery’s Lady of the Lake (1947) contains several moments in which the visual content of the subjective POV shot overlaps with the main character’s reflection, as when, for example, he looks at himself in the mirror. By contrast, in the non-reflective variant of the subjective shot (type II), the perceptual organs of the perceiver are not visible on-screen. Here, the physical presence of the perceiver is suggested metonymically by elements in front of the camera such as body parts (e.g., hands or feet as in Figure 6) or cigarette smoke. 232 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 232

25/06/15 20:26


The Shining (Stanley Kubrick, 1980)-

Figure 6. Subjective, non-reflective shot (II).

Figure 7. Semi-subjective, non-reflective shot (IV).

In the latter case, we can make a further distinction between two types of nonPOV shot: the ‘personal or semi-subjective non-POV shot’ and the ‘impersonal or objective non-POV shot.’ In both cases, the perceiver’s body as the locus of perception is present as a distinguishable physical entity on-screen. The first type of non-POV shot recalls what Jean Mitry refers to as the ‘semi-subjective shot’ (77-78). This type usually has the camera placed somewhere behind a character in the foreground, while the object of his or her gaze is also included in the background of the frame. In this case, the link is created by using the depth of field. In practice, this tension is often further increased by such deep focus techniques as the use of racking focus or the split-field diopter lens, the latter allowing an approximation of depth of field by bringing both near and far planes into focus simultaneously (for a good discussion of this technique see Ramaeker). Similarly, this type can be either reflective (type III) or not (type IV). In the first case, the object of the character’s gaze coincides with the perceiving character. Again the character sees himself or herself reflected (cf. type I), except that the camera is situated behind the person. Examples of this type include the shot from Reflections in a Golden Eye (John Huston, 1967) in which the character of Marlon Brando talks to himself in front of the mirror, or the shot from Bigger Than Life (Nicholas Ray, 1956) in which the face of James Mason’s character is reflected in the shattered mirror of his medicine cabinet. In the second case, by contrast, the object perceived does not involve a reflective surface. In other words, the visual field of the character is occupied by something other than the character’s reflection. Consider, for example, the moment from The Shining (Stanley Kubrick, 1980) in which the tracking shot of little Danny riding his tricycle halts around the corner. In 233 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 233

25/06/15 20:26


a very symmetric composition, the camera, which is placed behind the boy, shows the content of his visual field (i.e., the two Grady sisters standing across the hallway) (see Figure 7). The second type of non-POV shot, the impersonal or objective shot, can take three forms. In the first, reflective form, there is still an overlap between PR and OP (type V). The perceiver still watches himself or herself reflected (cf. types I and III), only this time the connection between PR and OP is filmed in an objective way. In addition, the reflective form can also manifest itself as an objective shot in which the perceiver is not the object perceived (type VI). In this variant, the object perceived is reflected in (1) a reflective surface which can be situated next to the perceiving character, (2) the reflective surface of a window or other piece of glass through which the character sees something, or (3) the eye of the beholder. An illustration of the first case can be found in, for example, Carl Theodor Dreyer’s Getrud (1964). The film shows an objective shot of Gabriel Lidman (Ebbe Rode) as his gaze is directed towards the title character (Nina Pens Rode) who is located off-screen (see Figure 8). The literal distance between PR and OP, however, albeit still present, is reduced cinematically through framing, as her body is reflected in the mirror next to him. In the second case, by contrast, the distance is further neutralized to the point that both PR and OP are optically bound together. The camera sits on the opposite side, so that the viewer sees what the perceiver is seeing (i.e., the reflection) as well as the expression on his or her face as he or she sees it. In Steven Spielberg’s Jaws (1975), for example, there is a shot in which the character of Roy Scheider looks through the window of a boat, while the object of his gaze (i.e., the sea, the habitat of the shark) is reflected in the window (i.e., over his face). Nevertheless, one might label this case as indirect as there is still an intermediate object between PR and OP, which prevents it from becoming direct. The latter case, however, also leaves out the reflective object between PR and OP, as the object perceived by the character is directly reflected in the eye of the beholder. Famous examples of this case can be found in Reflections in a Golden Eye (John Huston, 1967), Blade Runner (Ridley Scott, 1982) (see Figure 9), or more recently War Horse (Steven Spielberg, 2011).


25/06/15 20:26


Getrud (Carl Theodor Dreyer, 1964)

Blade Runner (Ridley Scott, 1982)

Figure 8. Objective, reflective shot (VI).

Figure 9. Objective, reflective shot (VI).

However, the non-reflective form (type VII) is probably the most common way to depict an objective and homospatial link between PR and OP. This form is usually centred round the horizontal axis, and has the camera placed next to the character, showing his or her face in profile on one side of the frame (left or right), while the object of his or her gaze (albeit not the perceiving character) occupies the opposite side.

3.2. Camera movement In the second strategy, the conceptual metaphor seeing is touching is instigated by moving the camera’s point of view from the perceiver’s standpoint towards the perceived entity. The movement can be elicited from a fixed position (i.e., the zoom function) or not (i.e., the mobile camera). Both stylistic solutions involve movement from a starting point (the perceiver), over a pathway, towards an end point (the perceived object). Successful perception, then, takes place when the character’s point of view “reaches” the target: that is, by the time the mobile camera or the zoom function has continued to decrease the distance between the camera’s, or the character’s, perspective and the perceived object. Like the previous strategy, this device can be viewed as a way to connect two entities without interference of editing. However, it differs from the first in that PR and OP are not simultaneously present during the whole length of the shot. Depending on the way the perceiver is filmed at the beginning of the shot (profile, front or back), there are four different ways of eliciting the seeing is touching metaphor in film (see Table 4).5


25/06/15 20:26


Type I II

Shot type Objective Objective

PR Profile Front

Source PR PR

Path Mobile camera (lateral) Zoom function or mobile camera (backward)

III

SemiBack subjective

PR-OP Zoom function or mobile camera (forward)

IV

Subjective

PR

Zoom function or mobile camera (forward)

Goal OP PROP OP OP

Table 4. Categorization of the cinematic ways in which the contact between PR and OP can be elicited in one single shot with non-homospatiality (i.e., via movement).

The first type has the character filmed in profile as he or she looks at something off-screen. The camera then turns towards the object of his or her gaze, thus connecting the character’s gaze with the object. As the camera moves in a lateral way, the perceiver’s presence is abandoned to the off-screen space. Think, for example, of the shot at the end of The Conversation (Francis Ford Coppola, 1974) that preceeds the moment when Harry Caul (Gene Hackman) breaks open his small statue of the Virgin Mary. The film shows a front profile image of Harry as he stands in the ruins of his devastated apartment. Still desperately in search for the hidden bug, he now turns his eyes to the off-screen space on the left, towards the location of the statue (see Figure 10). The conceptual metonymy eyes stand for seeing articulates itself. As he looks, the camera pans horizontally to the left, thus replacing the perceiver by the object of his gaze (see Figure 11). Perception is now also construed metaphorically, as both entities, PR and OP, are now connected to each other. The Conversation (Francis Ford Coppola, 1974)

Figure 10. Source (PR).

Figure 11. Goal (OP).


25/06/15 20:26


The second type by contrast involves backward movement and shows the character filmed from the front. In this case, the camera moves in a backward direction from the front side of the character, and his or her perceptual organs (source), towards the object perceived (goal), thereby usually ending with a shot in which both entities are shown together (PR-OP) (cf. framing or mise-en-scène). Consider, for example, the way in which the following shot from Stanley Kubrick’s Vietnam war drama Full Metal Jacket (1987) is constructed. Private Joker (Matthew Modine) stands looking down into a large open grave at a row of white, lime-covered corpses. The shot opens with a medium shot of the front side of Joker’s face as his gaze is directed to the off-screen space below (cf. the metonymical rendering of perception) (see Figure 12). Then, the camera zooms out. As the shot size gradually enlarges, the dead bodies reveal themselves to the viewer (see Figure 13). The perceiver’s gaze is now connected to the object perceived (cf. the metaphorical rendering of perception). Full Metal Jacket (Stanley Kubrick, 1987)


Figure 13. Goal (PR-OP).

The third type differs from types one and two in that the initial shot does not concern an objective front or profile shot of the perceiver, but a semi-subjective rendering of the back of the perceiving character. Consequently, the opening image involves foreground-background segmentation with both the perceiver (front) and the object perceived (back) shown simultaneously in frame. However, as in the first way, the perceiver’s presence is subsequently replaced to the off-screen space as soon as the camera moves closer to the object perceived. To illustrate this, let us consider, for example, the underlying constructional schema of the shot from Barry Lyndon (Stanley Kubrick, 1975) in which Redmond Barry (Ryan O’Neil) first notices Lady Lyndon (Marisa Berenson) in the garden of a baroque castle. The shot opens with the symmetric image of 237 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 237

25/06/15 20:26


Redmond, screen right, and his patron Chevalier de Balibari (Patrick Magee), screen left, as they sit opposite each other at a table against a balustrade. At first their eyes are directed towards each other. But then, they both simultaneously turn their faces inward – thus giving expression to the intentionality of their gazes – towards the background of the frame, where in the middle of the frame, amongst others, the small figure of Lady Lyndon can be discerned (see Figure 14). As they both turn their heads, the camera starts zooming in towards the object of their perception until the latter almost fills the screen (see Figure 15), thus yielding the conceptual metaphor perceiving is touching or perception is contact between perceiver and perceived.6 Barry Lyndon (Stanley Kubrick, 1975)



In addition to the objective and semi-subjective types, the conceptual metaphor perceiving is touching can also be elicited, through movement, within a subjective POV shot. Because the visual content is wholly determined by the perceptual experience of the character, the latter cannot be discerned physically as a whole (except metonymically via the presence of body parts, or in the case of the presence of a reflective surface). Again the work of Stanley Kubrick offers us some insight. In Full Metal Jacket, for example, there is a scene in which a female Vietnamese sniper (PR), whose facial features are only communicated to the viewer at the end of the film, observes her perceived target on the ground, an American private named ‘Cowboy’ (Arliss Howard) (OP), from the higher floor of a ruined building. The latter is hiding behind a huge hole in the wall, thus giving the sniper a clear shot. The contact of her eyes with Cowboy is rendered visually by a straight and fast zoom-in from the sniper’s point of view (see Figure 16) toward the target (see Figure 17). Again this shot, which precedes the actual literal killing of the soldier, is subject to 238 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 238

25/06/15 20:26


a metaphorical interpretation, both involving spatial movement and physical contact. Like the bullet that will kill the victim some seconds later, the sniper’s “eye light” that moves through space, and that is represented by the zoom in, has force.7 Full Metal Jacket (Stanley Kubrick, 1987)



So far we have been dealing with the level of the single shot. The relationship between perceiver and the object perceived is established within the spatial unity of one shot. However, the conceptual metaphor perception is contact between perceiver and perceived can also be realized on the level of two shots: shot A establishes the origin of the perceiver and shot B shows the perceived object. This relationship between A and B can take two forms. Either shot A and shot B are shown simultaneously in the larger frame of the screen (i.e., homospatially), usually via such cinematic devices as superimposition or split screen imagery, or they are shown successively which is a defining characteristic of editing. We will consider each strategy in turn.

3.3. Superimposition and split screen or multiple frame imagery In the strategies of superimposition and multiple screen imagery, or split screen imagery, two images, one containing the perceiver (shot A), the other the perceived object of his vision (shot B), appear simultaneously within the larger frame. Like the first strategy, this process enables the viewer to see both the observer’s gaze and the object of his gaze at exactly the same moment (i.e., homospatially). It differs from it, however, in that the two entities are separated by their own frame dimensions and shape. The difference between superimposition and split screen lies in the way both shots are connected within 239 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 239

25/06/15 20:26


the larger frame. In the first strategy, the image of the object perceived is laid over the image of the perceiver. One can discern this strategy, for example, in the superimposed image from La Signora di Tutti (Max Ophüls, 1934), in which the orchestra (OP) is exposed over the main protagonist Gaby Doriot (Isa Miranda) (PR) as she looks through her opera glasses (see Figure 18). In the second strategy, the two entities are placed next to each other with the perceiver situated on one side of the frame while the perceived object is located on the other side of the frame, as in, for instance, many films of Brian De Palma. In Femme Fatale (2002), for example, there is a scene in which the character of Antonio Banderas (PR) is taking pictures from Laure/Lily (Rebecca Romijn) (OP). In order to capture both entities simultaneously on-screen, split screen is used, showing the perceiver, screen left, and the object perceived, screen right (see Figure 19). La Signora di Tutti (Max Ophüls, 1934)

Figure 18. PR-OP.

Femme Fatale (Brian De Palma, 2002)

Figure 19. PR-OP.

3.4. Editing We conclude our list of cinematic devices with editing. This technique differs from the previous one in that both entities are not shown simultaneously within the same larger frame, but successively. A shot of the perceived object is pasted after a shot of the perceiver. Usually this takes the form of the shot/ reverse shot or the eye line match. Shot A shows an objective and external shot of a character looking off-screen. Shot B shows what the character is looking at, from a position which is either occupied by the character (subjective shot) or not (eyeline match). Because the two entities are not co-present in the same frame, homospatiality is not appropriate. Theoretically speaking, shot A can be presented semi-subjectively, or subjectively. In practice, however, the perceiver in shot A is usually depicted in an objective way. That is, in order to elicit the idea in the viewer that the visual content of shot B coincides with the perceiver’s perceptual perspective, it seems that an objective representation of the perceiver 240 Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015 Kravanja_FINAL_DEF.indd 240

25/06/15 20:26


is desired. As Deleyto rightly points out: “It is as if film narratives required a constant return to objective presentation for a better understanding of the internal gazes that occur in the text” (170). In order to accentuate the subjective quality of the visual content of shot B, this shot is often given movement from the perceiver’s point of view towards the object of his or her perception (cf. type IV of the strategy of movement). In this case, the viewer initially might think that the suggested movement, elicited either by the mobile camera or by the zoom-in function, coincides with the physical movement of the character’s face and body. Often this presumption is, however, subverted in a subsequent shot showing the character still stationary at the same position. As with the second strategy, this kind of movement has to be interpreted metaphorically, i.e., as a concrete means to convey and imitate the character’s abstract perceptual experience. To sum up, then, one can schematize the relationship between the underlying conceptual metaphorical structure and the different cinematic devices as in Figure 20.


25/06/15 20:26


Figure 20. A cinematic model for analyzing a character’s perception in film.


25/06/15 20:26


CONCLUSION This chapter presents a metaphorical and metonymical examination of character perception in film. Using insights from CMT we have argued that the perceptual experience of a character (as part of the larger domain of character subjectivity) can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of our human bodies. More specifically, we have demonstrated how a pair of conceptual mappings, namely, the metonymy perceptual organ stands for perception and the metaphor perception is contact between perceiver and perceived, can manifest itself non-linguistically by means exclusive to the cinematic medium (e.g., camera movement, editing, etc.). By providing non-verbal evidence for conceptual metaphor, our analysis helps to validate CMT’s dictum that the metaphors of perception are primarily a matter of thought and only derivatively a matter of form. CMT also has some important merits for film studies. As a theory concerned with the bodily underpinnings of meaning-making, CMT provides insight into the question of how abstract meaning is construed in film. The study presented in this chapter only reflects one such case. However, systematic studies of visual data may reveal how other abstract concepts are grounded in sensory-motor knowledge as well. For instance, other studies should be able to shed light on how perception, once itself clarified metaphorically, can be mapped onto other abstract target domains. Indeed, if perception, according to CMT, is used in language as a source domain for such mental functions as thinking and knowing, then it is plausible to assume that the same processes of embodied meaning underlie the filmic representations of these abstract target domains as well. The two subsequent chapters will consider this issue in detail.


25/06/15 20:26

NOTES F I L M A S A N E X E M P L A R O F B O D I LY M E A N I N G -M A K I N G 1 For a good overview of these studies see Davis et al. 2 Lakoff and Johnson originally speak of ‘levels’ instead of ‘dimensions’. However, because the word ‘level’ might assume a hierarchical order, a positioning of one level above the other, we prefer to use the more neutral word ‘dimension’ instead. 3 Following Barsalou and Wiemer-Hastings we will define abstract concepts as “entities that are neither physical nor spatially constrained” (129). 4 In Conceptual Metaphor Theory it is common to use small capital letters to indicate that these particular wordings are not a matter of language, but of concepts, belonging to the realm of human thought. These concepts underlie the very nature of our daily metaphorical expressions (linguistic or otherwise). 5 As the author stresses, the order of both stages (first, body and second, culture) is at this point still a proposal. Future experimental research will have to address to what extent this order is empirically legitimate (“The Relationship” 323). 6 We thank Ibarretxe-Antuñano for giving us permission to use this image. 7 As we shall demonstrate in our own contribution about time metaphors in film, evidence from various films seem to suggest a spatial model of time, very similar to the one reported in the Aymara language, in which the past appears to be in front of the character or Ego on-screen. 8 Although the discipline of cognitive science began to acquire an institutional identity in the 1970s, as the term was first coined by Christopher Longuet-Higgins, it roots can be traced back to the 1940s and 1950s, to Gestalt psychology and the work of such scholars as Jean Piaget and Frederick Bartlett, among others. For a good historical overview see Bechtel and Herschbach. 9 For a good overview of some of the current views and issues within cognitive media theory see recent volumes such as The Routledge Companion to Philosophy and Film (Livingston and Plantinga), Psychocinematics: Exploring Cognition at the Movies (Shimamura), and Cognitive Media Theory (Nannicelli and Taberham). 10 Within the phenomenological dimension one should further distinguish between those film studies that are primarily inspired by the embodied phenomenology of Merleau-Ponty, and those studies that are centred on the Henri Bergson-inspired work of Gilles Deleuze. Although the work of the latter is usually considered as a phenomenological study of cinema in its emphasis on the felt and sensuous qualities of film, Deleuze himself rejected this characterization for the reason that phenomenology, in contrast to cinema, is based on “natural perception” and the “anchoring of the subject” (Cinema 1 57) (for a discussion see also Sobchack The Address 30-31). F I L M N A R R AT I V E A N D E M B O D I E D C O G N I T I O N : T H E I M PA C T O F I M A G E S C H E M A S O N N A R R AT I V E F O R M 1 In its relation to neuroscience, embodied cognitive theory operates at the level of abstract generalisation without the need for a neural mapping of the brain’s hardware. Still, the theory’s claims about psychological processes, stemming from cognitive psychology’s empirical investigations, certainly outdo armchair speculations. 2 B eing consistent with Johnson’s guideline (The Body 23), I use the terms schema, embodied schema, image schema, and kinesthetic image schema interchangeably.


25/06/15 20:26


3 S ee Bordwell’s skepticism about the encompassing precision of identifying only 7 plots (Booker), and about the usefulness of discriminating as many as 36 ‘basic’ structures (Polti). 4 The same canonical neuron that fires when we see an object is the one that would fire (and activate our motor system) when we actually grasp that object. The same mirror neuron that fires when we see (or hear) somebody is doing (or feeling) something is the one that would fire (and activate our own motor system) when we actually perform the same action ourselves. 5 I t is not easy to define the pleasure one feels while encountering pictorial, or, for that matter also, textually represented symmetry. From an embodied cognitive angle, symmetry and balance are pleasing to the eye or the mind as they imitate the symmetry and balance of the perceiver’s physiological makeup (which is projected to the visual or textual information). 6 Th ese latter, higher order schemas are literary and cinematic equivalents of real-world segmentations’ habitual scenarios, described by mental models (Johnson-Laird) or situation models (Dijk and Kintsch) s for how this cognitively impenetrable bodily resonance works through our Mirror Mech7 A anism, that is best left to neuroscientific explanations and evidences, and even a brief case study exemplifying the theory’s applicability to narrative analysis – see Rizzolatti et al., Gallese (“The Manifold”), Rizzolatti and Sinigaglia, and Wojciehowski and Gallese, respectively. rough their cognitive development, children acquire their first narrative schemas from 8 Th about the age of seven (Branigan Narrative 18-19). lthough it seems that the part-whole schema functions as a prerequisite for apprehending 9 A a hierarchic centre-periphery structure, their primary gestalts appear on the same category-level both in Lakoff’s and in Johnson’s standard inventory. The same applies to the link schema, which is also part of the core set in Lakoff and Johnson’s list, even though it is clear that a collection of parts can only constitute a whole if the parts are somehow linked with each other in advance. 10 About the degrees of narrativity, from non-narrative to minimally narrative and to fully narrative, see Monika Fludernik’s sub-chapter (243-248). 11 Taking the same visual approach in their study on virtual reality, Alison McMahan and Buckland contemplate upon our changing reliance on the container schema. When it comes to new media’s immersive 3D experiences, they claim that “VR environments (…) eliminate one level of container projection demanded by the viewer of the film.” 12 For a detailed overview of extended and embedded cognitive theories see Shapiro (Embodied 193-197). 13 Bordwell sees narrative complexification (in forking-path stories) as a ‘cognitively manageable,’ ‘pretty limited affair (“Film Futures” 90, 89). In their reactions Edward Branigan (“Nearly True”) and Kay Young (“That Fabric of Times”) both argue that Bordwell has this mostly right (hence the title of Branigan’s article, “Nearly True”), however his examples are restricted to classical Hollywood narratives and thus neglecting “other types of plotting not dependent on the ‘river of time’ metaphor” (Branigan “Nearly True” 107). 14 Naturally, Grodal does not mean that the experience of art cinema is fully detached from embodied cognition. Although he talks about ‘disembodiedness’ (Embodied 208-211), what he describes is the detachment of our comprehension from an actual and concrete bodily immersion (see how mainstream narrative films offer ‘concrete embodiment’ [208]), where the experience finds outlets in more abstract, somewhat ‘disembodied’ meaning making strategies (see how art cinema gives rise to feelings of ‘deep significance’ [149-150]). 15 See Johnson’s argument for the flexibility of image schemas (The Body 30).


25/06/15 20:26

NOTES

EMBODIED VISUAL MEANING IN FILM 1 F or a detailed discussion and critique of the conceptual/propositional view of meaning see Johnson (The Body, The Meaning). 2 F or this reason the linguistic fallacy has also been related to anti-intentionalism, i.e., the view according to which the artist’s actual intention is irrelevant to the interpretations of artworks (e.g., Wimsatt and Beardsley “The Intentional”). 3 I n this way one might argue that CMT is closely related to other theories of meaning that are primarily psychological rather than linguistic or semiotic. This recalls, for example, Paul Grice’s inferential model of communication, John Searle’s theory of speech acts or, more recently, Wilson and Sperber’s relevance theory. In the same derivative sense, Searle, for example, speaks of the distinction between ‘sentence meaning’ or ‘word meaning,’ on the one hand, and ‘speaker meaning’ or ‘utterance meaning,’ on the other (140). For Searle utterance meaning is a form of derived intentionality, in that it is defined by the mental content of the speaker, namely, his original intentions. When a speaker performs a speech act, he inflicts meaning by transferring the original or intrinsic intentionality of his or her thoughts (the conceptual) to the sounds emanating from his or her mouth or the marks made on paper (the form of expression). It differs from sentence meaning or word meaning in that it is related to the speaker’s mental stock, whereas the meaning of a sentence is entirely determined by linguistic and literary conventions. If uttered meaningfully, Searle writes, those sounds and marks “have not just conventional linguistic meaning but intended speaker meaning as well” (141). For an application of these insights to art see also Carroll (“Art Interpretation”). 4 Arnheim was obviously influenced by Kant’s Critique of Pure Reason (1781/1787). 5 F or a discussion of the containment schema in other Westerns of John Ford see Coëgnarts and Kravanja (“On the Embodiment”). FILM MUSIC AS EMBODIMENT 1 In describing the music, I avoid delving into complex music-theoretical explanations. The reader might benefit from knowledge of musical notation, yet this is not indispensable to an understanding of the annotated scores. These scores, however, are by no means intended to replace experiencing the music in the context of the film; I strongly encourage the reader to consult the various films. Timings for the scenes under discussion are supplied after the title of the film. These timings are not time-code based; they provide the hour, minutes, and seconds, as read by a DVD player. For example “0:03:35 - 1:20:20” should be read: “the scene starts at 0 hour, 3 minutes, and 35 seconds, and ends at 1 hour, 20 minutes, and 20 seconds.” e ‘abstract’ nature of music has been frequently discussed as stemming from: 1) the 2 Th temporal and almost intangible nature of sound, which makes the perception of music an ephemeral phenomenon, and 2) the lack of specificity of representational and propositional content in music (see e.g., Kivy; Pratt; Walton). 3 S aslaw investigates various mental structures (or schemas) in the context of musical analysis, in particular when applying analytical methodologies put forth by Hugo Riemann. 4 J ohnson (The Body) uses the terms ‘schema,’ ‘embodied schema,’ and ‘image schema’ interchangeably. His notion of schema has been expanded to include ‘expectation schemas’ (Cox and Huron). 5 K övecses account for unidirectionality in metaphors stems from the concrete/abstract duality: “our experiences with the physical world serve as natural and logical foundations for the comprehension of more abstract domains. This explains why in most cases of everyday metaphors the source and target are not reversible” (A Practical Introduction 6). A few scholars, however, have challenged the notion of unidirectionality in the conceptual metaphor


25/06/15 20:26


binary structure. Ortony, for instance, addresses the subject of unidirectionality based on the recognition of the features projected from source to target. He claims that, in general, these features are highly salient for the source domain but not for the target. In the metaphor “This man is a monkey,” the salient characteristics of “monkey” (noisy, physically flexible, or other) are projected onto “man.” Reversing the order of source and target (as “This monkey is a man”) would produce different and arguably less clearly delineated projections. 6 M ost scholars address one-dimensional abstract structures via the verticality or path schemas. Instead, I prefer the more abstract linearity schema, which does not imply physical orientation (as in verticality) or goal-directed motion (as in path). A possible argument for the widespread use of verticality is that “locating objects along vertical axis of the body is easiest because of the body’s perceived asymmetry with respect to the ground” (Barsalou “Grounded” 625). For a discussion about one-dimensional schemas please see Chattah (“Semiotics”). 7 Th e cyclic goal-directed motions mentioned here are broadly defined by their characteristic patterns of repetition. No taxonomy of movement involving complex motions of the whole body, however, seems to be available; naturally, any objective and formalized categorization of wholebody motion should consider (and possibly disregard) a range of variability in human motion. 8 S herrington’s notion of ‘proprioception’ as sensory information provided by internal organs is addressed only tangentially in this chapter. For further insights on proprioception and music please see Peñalba Acitores. 9 S imilarity correlations between conceptual domains are expressed in the form of a conceptual metaphor ‘A IS B’ as established by Lakoff and Johnson (Metaphors). 10 Juslin (“Perceived”) identified tempo as the most significant parameter in a modulating effect, triggering a wide range of emotional responses. For an in-depth exploration on the psychophysiological responses to musical tempo see Van der Zwaag, Westerink, and Broek. 11 In the Mandarin version of the film, the character performed by Ziyi Zhang is named Jen Yu. 12 Empirical studies by Husain, Thomson, and Schellenberg show that exposure to fast tempi result in increased arousal and tension. See also Van der Zwaag, Westerink, and Broek. 13 The reader might have encountered three words that seem equivalent: pitch, note, and tone. Although these words are often used interchangeably, pitch indicates the frequency of a sound, note is the conventionalized name for a particular pitch frequency (for instance, middle ‘C’ is 261.6 Hz), and tone addresses the timbre or ‘color’ of a sound. 14 Zbikowski observes that this conceptual metaphor varies among cultures. For instance, pitch relationships are relationships of physical size is used in Java and Bali, while pitch relationships are age relationships is used in Suya of the Amazon. This further emphasizes the notion that conceptual metaphors rely on abstract structures (in these cases the linearity schema). Direct world-wide-web link: http://www.tomandjerryonline.com/Videos/tjnc.mov. Also 15 available at: http://www.tomandjerryonline.com/videos.cfm. part from glissandi, the chromatic scale provides the most continuous rendition in the pitch do16 A main, as it includes all (twelve) pitch classes in the Western system of tuning; pitches repeat in different registers by way of multiples of their frequency. Alternative tuning systems (e.g., the Middle Eastern gadwall, or some traditional Indian systems) allow for microtonal pitch inflections. 17 Direct world-wide-web link: http://www.tomandjerryonline.com/Videos/tjpb1.mov. Also available at: http://www.tomandjerryonline.com/videos.cfm. 18 Johnson and Larson explore the notion of motion in music as reflected in the lyrics George Harrison’s song “Something in the Way She Moves.” From a psycho-perceptual focus, Gjerdingen gives an account of motion in music with an analogy to the ‘phi effect’ in vision:


25/06/15 20:26

NOTES

a succession of musical events (successive pitches for instance) when placed at appropriate distance of each other (both in terms of frequency and temporality) will trigger a sense of movement. 19 Employing the CAM model, Lipscomb found that perceived congruence is higher when accent structures between sounds and visual images synchronize. 20 Bolivar, Cohen, and Fentress attempt to apply the CAM model to observe semantic and formal (audiovisual) congruency. 21 Studies on Heart Rate Variability (HRV) shows that the heart-beat follows more constant patterns during tensed states, hence resulting in low HRV. Van der Zwaag, Westerink, and Brook explored the influence of music in HRV, finding that “HRV was higher during slow tempo music than during fast tempo music” (261). In a related study on brain stem reflex (which controls changes in pulse, respiration, heart rate, skin conductance, motor patterns, etc.) Juslin and Västfjäll explored the processes whereby emotions are induced by music. See also Levitin. By extending these results to film music, I speculate that music during a film may induce emotions through physiological mechanisms including heart-beat, respiration, skin conductance, blood pressure, motor patterns, and even brain waves or neurochemical levels. 22 Note that when establishing semantic correlations, the music appears as the concrete domain within the A IS B binary structure. This shift, from music acting as ‘target’ domain to music acting as ‘source’ domain, defines the boundary of the Mickey Mousing technique. 23 Attempts to quantify degrees of dissonance date back to Pythagoras, who observed frequency ratios in strings of various lengths. 24 Syntagmatic analysis attends to the temporal organization and placement of semiotic units within a structure; paradigmatic analysis, on the other hand, attends to relations of a semiotic unit to potential replacing units not present in the structure. 25 The major and minor scales have been the primary archetypes of Western music since the seventeenth century. Many film composers, however, avoid the ‘happy’ or ‘sad’ coloring typical of the major and minor scales by employing alternative pitch configurations, including the Greek modes. These configurations expand the composer’s tonal-color palette while providing new means for music-narrative interaction. 26 Qualifiers drawn from Cooke and Huron. 27 Qualia drawn from Huron (145). 28 Final cadences mark the ending point of musical phrases, and generally exhibit a descending melodic contour (Huron). In fact, the term ‘cadence’ derives etymologically from the Italian cadenza, which means ‘to fall’ or ‘declination.’ 29 Other pitches (the mediant, for instance) provide a relatively high degree of closure. 30 Thompson, Russo, and Sinclair conducted three experiments to examine the influence of musical underscoring on the judgment of closure in film. In order to provide a general understanding of the concept of closure in music he draws on general music theoretical concepts and on the theories of expectation by Leonard Meyer. 31 The music features a plagal cadence, commonly referred to as the ‘Amen’ cadence, outlining a harmonic movement from subdominant to tonic. It is not coincidental that the film’s opening musical gesture and its concluding cadence are in the same key. hile a linearity schema is defined by locations along a one-dimensional structure, a con32 W tainer schema is defined by content and boundaries. Lakoff and Johnson regards our body as the primary ‘container,’ as we are “bounded and set off from the rest of the world by the surface of our skins (…) We project our own in-out orientation onto other physical objects that are bounded by surfaces” (Metaphors 29).


25/06/15 20:26


33 Th e notion of homorhythmic denotes a single rhythm for all melodic lines. 34 Thomas Newman’s musical language brings to mind Aaron Copland’s open voicings featuring a profusion of fourths, fifths, and ninths. Although the ‘A Dorian’ scale is most prominent, Newman’s use of chromaticism results in tonal ambiguity in regards with the mode at a precise moment in the piece. 35 Hayward defines this tradition as “expressing futurist/alien themes through use of dissonance and/or electronic sounds” (24). Donizetti intended this aria to be accompanied with a glass harmonica; instead the 36 soundtrack features a flute. The eerie sound of a glass harmonica would have worked against the desire to ground his aria in human, rather than alien sonic environment. 37 As Huron notes, most melodies exhibit stereotypic patterns, the most common being the arch shape. Over time and with frequent exposure, listeners form expectations that reflect such patterns. 38 Sessions addresses musical phrases figuratively as performed “in a single breath” thus pointing to the vocal origin of musical phrasing. 39 The wordless vocals create associations with the sound of a Theremin. The use of a Theremin (and more broadly, of electronically generated timbres) has permeated in sci-fi films as a convention to represent alien beings since the 1950’s. In her survey of soundtracks to sci-fi films, Schmidt notes “there is some suggestion that our brains physically interpret electronic sounds as in some way profoundly artificial in relation to the sounds produced by other instruments (…) Thus, no matter how pleasing it may be to the ear, the electronic may always signify both itself and an anxiety about authenticity, and might have always been pre-destined to be alien” (36). 40 De Souza draws on Gibson’s notion of affordance to investigate the impact of instrumental interfaces in music production. 41 Research has shown that individuals with restricted mobility (paraplegics) experience difficulty in rhythm production in comparison with non-paraplegics (Huron). 42 Scholars have noted that sound is a direct result of objects moving; hence it can be argued that any sound (musical or otherwise) denotes a moving object. Cox maintains that most musical sounds are evidence of human behavior (“Metaphoric Logic”). 43 In outlining the associations triggered in instrumental music by Beethoven, for instance, Hatten asserts that styles “are themselves defined by certain structural oppositions” and with “clear associations with levels of society (…) A composer could exploit high, middle, or low styles the way a speaker exploits what sociolinguists call ‘social register’ in language” (77). 44 I n this case the 5/4 meter is arranged in ten subdivisions organized as 3+3+2+2. 45 Cox is hesitant about extending the finding of Mirror Neurons in Macaques to the human brain; he instead proposes the ‘Mimetic Hypothesis,’ grounded on metaphorical and embodied representation (“Embodying Music”). 46 Drawing on Gallese’s notion of Mirror Neuron System, Pulvermüller seeks to obtain empirical evidence of neuronal discharge triggered by hearing (rather than seeing): “hearing a word seems to be associated with activation of its articulatory motor program, and understanding an action word seems to lead to the immediate and automatic thought of the action to which it refers” (1). 47 Sachs speculates that particular contours derive from animal instinctive howls or wails; he identifies examples in Western classical music as well as Russian, Australian aboriginal, and Lakota (Sioux) music. 48 Kubrick is known for using pre-composed classical music in his films. See for instance his use of Penderecki and Bartok (in The Shining) or Strauss and Khachaturian (in 2001). 49 Van der Zwaag, Westerink, and Broek survey the effect of percussiveness in music percep-


25/06/15 20:26

NOTES

tion and further speculate “the amount of percussiveness in music indicates the power of the music’s impact” (253). Their empirical studies confirm this hypothesis by showing that skin conductance level (an indicator of emotion) “increases with higher percussiveness, as skin conductance is a direct reflection of the sympathetic nervous system, which is positively related to energetic as well as tensed arousal” (262). 50 A leitmotif is a short recurring musical idea associated with a character, place, or object, established by the concurrent and consistent appearance of a particular melodic idea and its counterpart in the film’s story-world. Film music archetypes exist outside of a single film; these develop via frequent exposure to music, becoming cultural units the listener identifies via the music’s stylistic characteristics. Arguably, accompaniment to silent film sought to trigger phenomenological responses; yet a close inspection of (at the time available) compilations for pianists, organists, and conductors (e.g., Ernö Rapée’s Encyclopedia of Music for Pictures of 1925) illustrate that pieces were arranged according to categories akin to archetypes, such as ‘Bridal Scenes,’ ‘Oriental,’ ‘Religious Music,’ etc. As a result, the purpose of performing these pieces during a silent film was to set locale, set time period, as genre identifiers, and as indicators of the ethnicity or socio-cultural background of characters. Leitmotifs and archetypes may rely on analogy or resemblance; but it is largely agreed that leitmotifs and archetypes draw on arbitrarily established relations, and thus become conventional within culturally defined repertoires. For an in-depth investigation on the relationships between the music’s connotations and a film’s narrative, please see Chattah (“Conceptual”). T H E F L O AT I N G W O R L D : F I L M N A R R AT I V E A N D V I E W E R D I A K R I S I S 1 See Plato, Republic III, and Aristotle, Poetics III, discussed below. Bordwell, Narration in the Fiction Film (16). 2 A lthough the term diakrisis is not a concept in classical poetics, I introduce the term in this chapter to name a set of phenomena that take place in the mind of the spectator, as well as the creators of a film (director, actors, editors, etc.). 3 I use the term ‘superstructure’ in a non-marxian sense here. 4 I n literary studies, the ‘fallacy’ of relying on the author’s stated or inferred intentions in order to determine what a works means was a credo for more than half a century, starting with T.S. Eliot’s 1921 essay “Tradition and the Individual Talent” and articulated most fully in Wimsatt and Beardsley’s article “The Intentional Fallacy,” and republished in expanded form in The Verbal Icon: Studies in the Meaning of Poetry (3-18). This insistence on bracketing out authorial intent from the finished work seems not to have been a strong principle within film studies. 5 S eymour Chatman explains: “The difference between narration proper, the recounting of an event (…), and enactment, its unmediated presentation (…), corresponds to the classical distinction between diegesis and mimesis (in Plato’s sense of the word), or, in modern terms, between telling and showing. Dialogue, of course, is the preeminent enactment” (32). 6 I bid., 9-10. Gaut goes to some lengths to dismantle the notion that the viewer can share the position of this implied filmic narrator. The viewer doesn’t get to tell the story, and thus cannot be the narrator. We may pretend that we are having the same perceptual experiences that the implied narrator/observer does, but that illusion is not really sustainable (Gaut 203-206). 7 F or an excellent recap of these debates see Gaut (197-243). 8 B ordwell notes that diegetic theories of narrative came into their own during the era of French structuralism and poststructuralism (Narration 17-18). 9 P aradoxically, visual elements such as film edits are often considered through a diegetic framework, as well, because they become a vehicle of narration that is ‘language-like.’


25/06/15 20:26


10 Still more confusingly, diegesis is applied by some to non-fictional storyworlds, as, for example, in documentary films. However, it is more typically applied to fiction. 11 Jason Mittell explains the distinction between diegetic and non-diegetic elements of narrative with examples from The Wizard of Oz: “The diegesis refers to the storyworld which the characters experience, whether we witness it or not–even though we do not see Dorothy’s house land on the Witch of the East, it is a diegetic element of the film’s narrative, later recounted by the Witch of the North. (…) By contrast, non-diegetic elements are used to tell the story, but do not actually appear within the film’s internal storyworld. Typically, films employ non-diegetic techniques such as camera movements, edits, and soundtrack music to represent aspects of the storyworld and guide our reactions to onscreen events” (“Film” 160). There is some slippage in the term “diegetic,” defined earlier in this chapter as the “telling” of a narrative. In Mittell’s description, diegesis occurs within the storyworld, while the non-diegetic elements of narrative remain outside of it, yet still help tell the story. 12 Carroll’s concept of the erotetic assumes that films actually have a narrator, which, as we have seen, is a complicated assumption, especially in the case of implied narrators. 13 Bordwell calls these templates schemata. Schemata are broad categories of information we carry inside our head that we use to make rapid judgments about specific information presented in a film (Narration 31-39 et passim). 14 Dehaene and his colleagues theorize consciousness as a ‘global neuronal workspace.’ “We propose that consciousness is global information broadcasting within the cortex: it arises from a neuronal network whose raison d’être is the massive sharing of pertinent information throughout the brain” (13). 15 On the phenomenon of embodied simulation, our innate capacity to understand the actions, basic motor intentions, feelings, and emotions of others, and thereby to ground our identification with and connectedness to narrated characters, see Wojciehowski and Gallese. 16 Viewer X is loosely based on my own recent screening of Titanic as I was writing this article. It is a highly approximate reconstruction of my thoughts as I was watching, which I wrote down a day later. Viewer Y is loosely based on the thoughts of my partner Eric Chapelle, a composer and connoisseur of film scores, who generously contributed his own reconstructed internal narrative in response to my invitation. 17 Imaginary stream-of-consciousness narrative was pioneered by James Joyce and Virginia Woolf, and many others in the meantime. 18 Dehaene notes that subjective responses were looked down on by scientists, particularly in the wake of mid-twentieth century behaviorism. “The correct perspective,” Dehaene argues, “is to think of subjective reports as raw data” (12). If subjective reports are one half of the equation, experimental data is the other, he asserts. 19 See also the previous note, which discussed Wimsatt and Beardsley’s companion essay “The Intentional Fallacy.” 20 For a summary of some of these experiments, see Chapters 1 and 2 of Dehaene’s book Consciousness and the Brain (17-88). Scientists can track the progress of visual information in the brain, determining how far it must progress in order to register consciously. Interestingly, such information may be processed and even acted upon, whether or not it reaches an individual’s conscious awareness. 21 Interestingly, Donald’s example of intermediate-term memory in action is a conversation between eight people about a film that they have recently viewed (Donald 46-91). 22 The ‘movie’ they used in their experiment was a 27-minute episode of Curb Your Enthusiasm (Season 1, Chapter 7).


25/06/15 20:26

NOTES

M O D E S O F A C T I O N AT T H E M O V I E S , O R R E-T H I N K I N G 1 ‘Measurement Theory.’ Cinemetrics. Cinemetrics, n.d. Web. 08 March 2014. 2 See at least Cutting, Brunick, and Candan; Smith T.; Smith, Levin, and Cutting. 3 I borrow the term from David Bordwell (Poetics 46). 4 See, e.g., Ihde (iii). 5 On the relationship between the cinematic illusion and the viewer’s body see Voss. 6 I think of two American books like The Photoplay (1916) by Hugo Münsterberg and The Art of Photoplay Making (1918) by Victor Oscar Freeburg. 7 See, e.g., Grodal (Embodied). 8 See at least Chateau; Barker; Stadler. 9 Among others, Bochet et al.; Furman et al.; Iwase et al.; Nishimoto et al.; Rothstein et al. 10 For a recent publication, which allows one better to grasp Merleau-Ponty’s ideas on cinema, see the 2011 edition of Merleau-Ponty’s 1953 Cours au Collège de France Le Monde sensible et le Monde de l’expression. 11 Beyond the already mentioned Sobchack and Barker, see also Marks and Rutherford. 12 See, e.g., Smith, Murray. 13 This is the approach of some analysis by the already mentioned Barker, and by D’Aloia (La Vertigine). 14 Bordwell put forward the idea that low-level, modular processes play a key role in eliciting suspense – the so-called ‘firewall hypothesis’ – and this would be one of the reasons why we experience the same feeling when we see a movie for the second or third time. He attributes such an effect to a kind of resonance in which mirror neurons would also play a role (Bordwell and Thompson Minding Movies 100). 15 Gallese et al.; Gallese, Keysers and Rizzolatti. 16 See Michotte van den Berck (“La Participation”); Wallon. See also the parts on cinema in Merleau-Ponty (Le Monde). 17 Canonical neurons – in the premotor and posterior parietal cortex – selectively activate both when the agent grasps an object and when he merely perceives it. For evidence on canonical neurons in monkeys see Murata et al. For evidence in humans see Grèzes et al. 18 On film metaphors and camera movements see also Coëgnarts and Kravanja (“The Visual”). 19 See also Heimann et al.; Gallese and Guerra (“The Feeling”). 20 For more details see references in previous note. 21 This is the proposal by MacDougall. 22 Daves’ “Observations on the Camera Acting as a Person” are mentioned and commented by Vivian Sobchack (“The Man” 72-74). 23 See at least Magliano and Zacks. ART IN NOISE 1 L awrence Shapiro describes embodied cognition as less a theory than a research programme unified by its commitment to “elevate the importance of the body in the explanation of various cognitive abilities” (“The Embodied” 340). 2 E mbodied simulation theory has been recently applied to cinema by Gallese and Guerra, but their focus has been unimodally limited to visual imagery. Fahlenbrach, however, has written


25/06/15 20:26


extensively upon cinematic sound and affect from the perspective of embodied metaphor (“Feeling Sounds”, “The Emotional Design”, “Aesthetics”) and, latterly, embodied simulation (“Embodied Spaces”, “Emotions”). In this chapter, my contribution to the research approach rests in locating a basis for embodied meaning in the sonic induction of affect described by the BRECVEMA framework. 3 B ut see the individual work of Brian Boyd, Joseph Carroll, and Jonathan Gottschall, for an overview of the recently emerged cognitive and evolutionary approaches to literary theory (see also their edited volume Evolution, Literature, and Film: A Reader). y reference to theories of affect should not be confused with ‘affect theory’ currently in 4 M use within humanities discourse. My use of the term affect is not identical to its use by affect theorists such as Brian Massumi, Nigel Thrift, or William Connolly. us far my professional career encompasses 30 years in sound design with the last decade 5 Th also encompassing media education. 6 David Bordwell, in referring to “Grand Theory” as SLAB theory, an acronym formed from “Saussurean semiotics, Lacanian psychoanalysis, Althusserian Marxism, and Barthian textual theory” (“Historical” 385), underscores its doctrine-based nature and limitations. 7 However, Gianluca Sergi (“In Defense”), Barbara Flueckiger, and Birger Langkjær are notable exceptions to this trend. isted here are some of In the Cut’s sound design personnel: 8 L Supervising sound editor: Andrew Plain Dialogue editor: Linda Murdoch Sound designer / SFX and atmospheres editor: Peter Miller SFX and atmospheres editor: Mark Ward Foley supervisor: Blair Slater Foley artist: Mario Vaccaro Sound re-recording mixer: Martin Oswin A more complete listing of the movie’s creative personnel may be found at the International Movie Database. See http://www.imdb.com/title/tt0199626/. 9 Walter Murch and Randy Thom, of course, have consistently presented their ideas about cinematic sound to a wider audience, yet they remain decidedly designers of sound rather than writers of theory. Rare examples of practitioner-theorists might include Michel Chion and Daniel Levitin. Chion is a composer as well as a noted author of film-sound theory, while Levitin is a music producer who turned to a systematic programme of research in the neuropsychology of music cognition. 10 As illustration, consider the role of audition in controlling visual attention in Timecode (Mike Figgis, 2000) where synchronous sound activates the screen sector to which the audience will (mostly) attend. Sound design is also strikingly used to steer visual attention through highly complex or rapidly changing visual displays such as in the genres of action-adventure or thriller. A good example of this is the T-Rex battle in King Kong (Peter Jackson, 2005) where sound guides visual attention through a highly dynamic series of threats and opportunities. However, this steering function also occurs in tranquil movies, such as in the harsh scraping of a boy’s shoes on a doormat in Mon Oncle (Jacques Tati, 1958, at approximately 00:18:30 (hh:mm:ss)), attracting our visual attention even though the boy is in deep background and a highly animated conversation is underway in foreground. See Noesselt et al. for a description of how “sound increases the saliency of visual events.” 11 Many examples of this aesthetic effect may be found in the works of David Lynch, particularly Mulholland Drive (2001), Lost Highway (1997) and Eraserhead (1977).


25/06/15 20:26

NOTES

12 For reviews of the empirical literature on auditory imagery see Timothy Hubbard and the edited work Auditory Imagery (Reisberg). 13 For example, the spatial illusion of the ventriloquism effect (Bertelson; Bertelson and Aschersleben; Thurlow and Jack) whereby visual spatial location captures auditory location, and the speech illusion of the McGurk effect (McGurk and MacDonald) whereby vision modifies speech perception. 14 Mechanisms for multimodal interaction are many and varied, and limitations of this chapter do not permit a full cataloguing of their relevance for cinematic media. However, for a comprehensive review see the edited volumes The Handbook of Multisensory Processes (Calvert, Spence and Stein), and The Neural Bases of Multisensory Processes (Murray and Wallace). 15 In this regard, it is interesting to note Joseph Anderson’s prescient assessment of crossmodal confirmation as a fundamental mechanism for the creation of cinematic events (“Sound and Image”). 16 For a discussion of contemporary sound design and the interaction of the soundtrack’s three major components of dialogue, music and sound effects, see Altman, and Altman, Jones and Tatroe. For a comprehensive review of the sound of silent cinema see The Sounds of Early Cinema (Abel and Altman). 17 Van Wassenhove, Grant and Poeppel identify this temporal window as holding for audiovisual speech, but it may be assumed to extend to other ecologically valid audiovisual stimuli. See also Slutsky and Recanzone. 18 A dominant aesthetic within the virtual world of TRON is a form of digital ‘chunkiness’ in which its crystalline nature stands in contrast to the smoothness of the real world. This aesthetic grounds concepts of threat where characters literally risk disintegrating into blocks of digital debris. Such a digital aesthetic also underpins notions of racial and social identity. From an aesthetic perspective, it is worthwhile noting a parallel use of digital granularity within The Matrix where Neo’s voice similarly disintegrates at the point of his first passing from the Matrix into the Real World. In this instance, the disintegration of Neo’s voice is synonymous with the disintegration of his virtual self. 19 Parallel with the increasing significance of timbre in cinematic sound is Rebecca Leydon’s observation that contemporary music is “increasingly focused on timbre as a crucial semantic feature” (1), and argues an urgent need to explain its function. 20 To date, the most sophisticated soundfield technology is Dolby Laboratories’ Atmos, a format which supports the processing of 128 discrete audio channels distributed to up to 64 speaker feeds. 21 Tan goes on to say the “distal cause of entertainment activity is an unconscious need for training useful capabilities, whereas the proximal cause is enjoyment of the activity for its own sake” (“Entertainment” 28). 22 Gallese has written further upon Feeling of Body and ‘liberated’ embodied simulation in relation to narrative and psychoanalysis, noting “the bodily affective self is at the roots of the narrative self ” (“Embodied Simulation Theory” 196). 23 The term narrative design is commonly encountered in the computer game industry where it stands in the stead of screenwriter or author. My use of the term here signals a desire to make commensurate the design processes of narrative and perceptual imagery. Narrative immersion is sometimes also referred to as transportation (Green and Donahue; Holland; Mar and Oatley; Sestir and Green; Tal-Or and Cohen). 24 Cinematic proto-narrative acts as a workspace where bottom-up and top-down processes interact. Hence, my notion that proto-narrative is an interface. However, there are limitations


25/06/15 20:26


to the capacity of top-down processes to act upon the primitive. For example, it is doubtful top-down processes have any influence over the primordial feelings or life-regulation processes controlled at the level of the brainstem. As to what is produced as a consequence of this interface, which grounds cognition in perception, I suggest Barsalou’s concept of perceptual symbols (“Perceptual” 577). 25 For a discussion of the return of the cinema of attractions in post-classical cinema see the edited volume The Cinema of Attractions Reloaded (Strauven) and Ndalianis. 26 Parallel to Wojciehowski and Gallese is Patrick Colm Hogan’s proposal for an affective narratology (Affective Narratology). Hogan considers the structure and purpose of stories as inseparable from our emotion systems (“A Passion” 65). 27 For a survey of emotion concepts and the trends these concepts indicate see Kleinginna and Kleinginna, and Russell and Lemay. For an overview of the abiding problems in defining the field of emotion study and producing satisfactory definitions of emotion concepts see Frijda (“Point of View”). For a history of the development of the scientific study of emotion see Gendron and Barrett. 28 For a current account of the working definitions of ‘emotion’ see Izard, and Gendron. 29 There is a dearth of research which specifically examines the relationship between environmental sound and affect. The current research programme of emoacoustics, a portmanteau of emotional acoustics and represented by the work of Asutay et al., Tajadura-Jiménez, Tajadura-Jiménez et al., Väljamäe and Tajadura-Jiménez, responds in part to this lack. 30 See Russell’s virtual reality hypothesis (“Core Affect” 155-156) for further discussion of the role of core affect in art and entertainment. 31 In this regard, Bartsch and Hübner’s observations echo Mark Johnson’s theory of embodied meaning (“Embodied Meaning”, The Meaning) which argues that even the highest levels of complexity found in human abstract thinking have their basis in the lowest levels of the biological. 32 For a discussion of the design strategy for voice see Macallan and Plain (253-255). Plain is the supervising sound editor of In the Cut. 33 The sound design process for the creation of sound effects (SFX) and atmospheres of In the Cut is somewhat unconventional. Ordinarily, a single individual (or small group) is responsible for either the SFX or atmospheres across the duration of a movie. In the case of In the Cut, Miller and I divided the movie according to scene location so that we were each individually responsible for both the SFX and atmospheres of specific environments. This allowed for an intimate evolution of each locale’s environmental soundscape through which we shaped an emotional landscape. 34 Edward Hall (Hall “Proxemic Behavior”, Hidden) termed the study of a segmentation of human space as proxemics. These spatial zones exist pan-culturally, but are modulated by cultural rules. In this way, proxemics can be understood as both a biological-ecological understanding of inhabited space as well as providing basis for a study of social semiotics. The proxemics of In the Cut arises from the cinematic manipulation of peripersonal space. 35 For example, consider the sequences at approximately 00:11:10-00:14:05 (hh:mm:ss), 01:15:53-01:17:50, and 01:19:25-01:23:02, respectively. 36 Although opportunity does not permit examination of the impact of affect upon subjective temporality, several significant studies should be mentioned in passing, in particular (Bar-Haim et al.; Droit-Volet and Meck; Droit-Volet and Gil; Droit-Volet, Fayolle and Gil; Droit-Volet, et al; Noulhiane et al.; Schirmer; van Wassenhove et al.; Yamada and Kawabe). 37 Hovering in the background of this chapter, of course, is the irony in attempting to explain the embodied meaning of sound through the written word.


25/06/15 20:26

NOTES

38 For recent examples of this kind of cross-fertilisation of artistic and scientific practice see Heimann et al.. See also Guerra (this volume) for a discussion of how cinematic visual movement may be explored for its ecological validity in the activation of the MNS and social cognition, and T.J. Smith, and Smith, Levin and Cutting for an exploration of audience reception of filmmakers’ intentions through the eye-tracking of actual movies. However, as with much theory in Film Studies, these examples reveal a focus upon the visual at the exclusion of the auditory, illustrating the need for yet more innovative experiments to capture the role of multimodality in cinematic experience. T H E C H A R A C T E R ’ S B O D Y A N D T H E V I E W E R : C I N E M AT I C E M PAT H Y A N D E M B O D I E D S I M U L AT I O N IN THE FILM EXPERIENCE 1 M ental simulation developed within Philosophy of mind in the context of the Simulation-theories debate (Currie and Ravenscroft; Gallagher and Zahavi; Goldman; Gordon). F I L M S A N D E M B O D I E D M E TA P H O R S O F E M O T I O N onceptual metaphors are conventionally printed in small capitals, and metaphorical ex1 C pressions in italics. 2 Gibbs (Embodiment 244) reminds us that the word emotion itself stems from the Latin movere. 3 The degree of redundancy may vary from one film to another and within the same film. 4 Th e following are some of the comments on the film included in http://www.imdb.com/ title/tt0180093/reviews: “One of the most devastating and beautiful experiences I’ve had watching,” “Aronofsky knows how to tell a story in a way that is dazzling in its use of sound, editing, and cinematography,” “It is the essence of independent filmmaking, a daring, engrossing, artful film that stays with you long after you leave the theater,” “(..) this film went straight for the heart, ripped it out and kicked it around the floor for 90 minutes,” “A masterpiece of all the elements of what filmmaking is about, mixed together in some sick soufflé and thrown into your face, burning hot and scalding,” “It had a profound impact on me and I haven’t been able to stop thinking about it since I watched it on opening night.” 5 Available at http://tla.mpi.nl/tools/tla-tools/elan/. 6 See the director’s comments on the DVD. M B O D I E D C I N E M AT I C S U B J E C T I V I T Y: M E TA P H O R I C A L A N D E METONYMICAL MODES OF CHARACTER PERCEPTION IN FILM 1 S ee also Sweetser and her claim that physical touching and manipulation are common semantic sources for English perception verbs (i.e. visually picking out a stimulus) (32). 2 S ee in this regard, also the notion of the modularity of mind, i.e., the question regarding the functional and compositional architecture of the mind (e.g., Fodor Modularity 10-11). ote that it is not always necessary for the viewer to actually see the perceptual organ in 3 N order to identify the metonymical relationship. Top-down knowledge can help to aid in this identification. For instance, we know enough about the structure of human bodies to know that the eyes are attached to the head, so even if we only see, for example, the backside of a character’s head in the foreground of the frame with the object of his gaze in the background, we are able to infer the perceptual organ, and by extension the metonymy eyes stand for seeing.


25/06/15 20:26


4 F or a discussion of the term ‘homospatiality’ in relation to visual metaphor see also Carroll (“A Note”), Forceville (“The Identification”) and Coëgnarts and Kravanja (“From Thought”). 5 A similar categorization of the perception is reception metaphor in film can be construed by reversing source and goal in Table 4. or a detailed discussion of this scene, albeit without yet explicitly referring to the conceptu6 F al metaphor perceiving is touching, see also Coëgnarts and Kravanja (“Towards” 9-11). similar metaphorical application of this type can be discerned in the scene from Barry 7 A Lyndon when Lady Lyndon catches her husband cheating on her (for a discussion of this scene see also Coëgnarts and Kravanja “Towards” 8-9). N THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA: O PERCEIVING TIME THROUGH THE CHARACTER’S EYES 1 I n ‘sequential scanning’ the different configurations are viewed successively (as in watching a motion picture) (Langacker 145). It differs from what Langacker in his theory of Cognitive Grammar refers to as the process of ‘summary scanning’ where aspects of a scene are scanned simultaneously (as in looking at a photograph) (144-146). Where the former is connected to events that represent time as something dynamic, the latter is linked to static scenes that conceptualize time as a unified whole (see also Evans and Green 535). ne might counterargue that the absoluteness of this interpretation is somewhat tempered by 2 O the fact that the shot of the past (i.e., the object of her memory) does not represent a subjective shot of Deborah’s POV, but an objective shot of Deborah’s face and body. In other words, the viewer is not literally looking through her eyes as she remembers herself as an external entity. This, however, does not stand in contradiction with human evaluation of past experiences. As the cognitive neuroscientist Shimamura writes: “Our recollections are sometimes viewed as if we are seeing a different person. For example, sometimes we might recollect an episodic memory not from a first-person perspective in which we visualize the event in the same manner as we viewed it originally, but as seen from a third-person point of view, as if we are observing the scene from a distance” (Experiencing Art 137). Nevertheless, as our chapter will show, there exist other examples in cinema where the shot of the past coincides with the POV of the character that remembers. or a similar discussion of Lone Star from the perspective of CMT see Ortiz (“Visual Manifesta3 F tions” 12-13). is analysis differs from our previous study (Coëgnarts and Kravanja “The Visual”) in which 4 Th the flashback scene from The Passenger (Michelangelo Antonioni, 1975) was studied as an example of the time-moving metaphor on the grounds that the character is stationary. However, this account did not take into consideration the concept of perception, and the possibility that the perceiver’s sight can be expressed metaphorically by camera movement in which the camera brings the perceiver’s point of view in direct contact with the perceived object (i.e., the time). alsetto’s comprehensive analysis of the sequence was very useful for describing and structuring 5 F the different shot transitions (112-115). e latter can be considered an example of what Edward Branigan, following Noël Burch, calls 6 Th ‘proximate spatial articulations;’ that is, “the space revealed by shot A is near that of shot B – perhaps within the same room – but at no point does it overlap or coincide with the space of shot B” (“Formal” 54). or a more elaborated discussion of the role of the containment schema in the conceptualiza7 F tion of binary oppositions in film see Coëgnarts and Kravanja (“On the Embodiment”). 8 For this reason one might argue that the third case is closely related to Grady’s notion of resem-


25/06/15 20:26

NOTES

blance metaphor (“A Typology”). In contrast to the group of correlation-based metaphors, which involves a set of correspondences between a concrete source domain and an abstract target domain (e.g., time is space, knowing is seeing), resemblance metaphors are grounded in a single resemblance between target and source. In the expression “Achilles is a lion,” for example, one feature, namely the inner characteristic quality of courage, is mapped from the lion onto Achilles. One kind of resemblance metaphor that has received much scholarly attention is the image metaphor (Deignan; Gibbs and Bogdonovich; Lakoff “Image Metaphors”, “The Contemporary Theory”; Gleason; Lakoff and Turner). Here, the mapping of a single resemblance is based on a shared image structure rather than on a shared inner quality. For instance, in the often cited André Breton example of “My wife…whose waist is an hourglass,” one aspect of an hourglass, namely its shape and more specifically its narrow centre, is mapped onto the form of a woman. According to Lakoff and Turner image structure is characterized by both part-whole structure (e.g., the relation between a roof and a house) and attribute structure (e.g., colour, physical shape, intensity of light, etc.) (90). 9 E xemplary in this regard would be the pub scene from David Lean’s film Ryan’s Daughter (1970) in which Major Randolph Doryan’s (Christopher Jones) aural perception of Michael’s (John Mills) repetitious banging of his leg on the pub bench causes him to recall the dreadful memories of his time in the trenches during World War I. M B O D I E D E T H I C S A N D C I N E M A : M O R A L AT T I T U D E S E FA C I L I TAT E D B Y C H A R A C T E R P E R C E P T I O N or the sake of introducing and situating embodied ethics we are simplifying deontology 1 F somewhat here (see also Slingerland 306). 2 A s we will point out ourselves in the analysis of our own examples later, assessing what is wrong or not often crucially entails that we contextualize what we are witnessing. This is especially the case when we are evaluating other people (whether real life or fictional) on the basis of a description of their perceptual acts. That is, in order to provide a proper account of the moral weight of the perception of a person or character, one often has to bring in additional a priori information, the kind of knowledge which is often fuelled by a priori cases of perception itself. is broadening and non-dualistic conception of perception also recalls Rudolf Arnheim’s 3 Th writings on visual thinking. As we have already seen earlier in this volume, perception, according to Arnheim, offers more than just the passive processing of the stimuli arriving at the sensory receptors. For Arnheim, the separate treatment of seeing and thinking is “absurd” because “in order to see we have to think, and we have nothing to think about if we are not seeing” (“A Plea” 492; see also Visual Thinking). 4 F or a discussion of the importance of emotions in ethical matters see also Oakley. 5 Carl Plantinga claims something similar when he states: “The ability of narrative films to elicit sympathies, antipathies, allegiances, and other responses to fictional characters is a key element in their aesthetic success, and in their moral and ideological impact” (“I Followed” 34). or a typology of various affective responses to fictional characters see Plantinga (“I Fol6 F lowed” 43). 7 For more on the evaluative nature of emotional responses in film see also Dadlez (“Seeing”) and Carroll (“Movies”). 8 N ote the link with the moral perception view according to which perception (i.e., the lower level) always precedes moral judgement (the higher level) (see also Vetlesen 4).


25/06/15 20:26


9 Th e term ‘dramatic’ is used here in the literary sense of relating to drama or the study of drama. 10 It would be an interesting empirical problem to examine how much additional narrative information the viewer needs in order to make this kind of mapping from the perceptual level of the character onto the intentional/mental level of the character. 11 F or a good summary of these studies, see Winter (152-153). 12 For a good discussion of both concepts see also Plantinga (“I Followed” 36). 13 The idea that thought is mirrored in the face goes back to Ancient Greece, and up to modern facial expression research. For a good historical overview of some of this literature see Scherer (141-144). COGNITIVE SEMIOTICS REVISITED: REFRAMING THE FRAME e need to be aware that cognitive science is itself undergoing theoretical reduction via 1 W neuroscience. See, for example, Bickle. 2 I wish to thank Edward Branigan for his feedback on an earlier version of this chapter. urthermore, it is important to note that image schemata are not literal images (for images 3 F are always of something specific). Instead, this term refers to mental structures, which are more abstract than an actual image. We begin with images, but abstract structures from them to form schemata. or a more detailed analysis of Inland Empire from a formalist perspective, see Buckland 4 F (“The Acousmatic Voice”). 5 Werner Wolf defines metalepsis as “a fictional representation consisting of several distinct worlds and levels, among which unorthodox transgressions occur” (95).


25/06/15 20:26

BIBLIOGRAPHY “Content Creators, Distributors, Exhibitors: Introducing Dolby Atmos.” Dolby Laboratories. Web. 11 February 2014. Aarden, Bret. “Dynamic Melodic Expectancy.” Diss. School of Music, Ohio State University, 2003. Print. Abbott, H. Porter. “Story, Plot, and Narration.” The Cambridge Companion to Narrative. Ed. David Herman. Cambridge: Cambridge University Press, 2007. 39-51. Print. Abel, Richard, and Rick Altman, eds. The Sounds of Early Cinema. Bloomington, IN: Indiana University Press, 2001. Print. Agnew, Zarinah K., Kishore K. Bhakoo, and Basant K. Puri. “The Human Mirror System: A Motor Resonance Theory of Mind-Reading.” Brain Research Reviews 54.2 (2007): 286-293. Print. Altman, Rick. Silent Film Sound. New York: Columbia University Press, 2004. Print. Altman, Rick, Jones McGraw, and Sonia Tatroe. “Inventing the Cinema Soundtrack: Hollywood’s Multiplane Sound System.” Music and Cinema. Ed. James Buhler, Caryl Flinn, and David Neumeyer. Hanover, NH & London: University Press of New England, 2000. 339-359. Print. Anderson, Joseph D. “Sound and Image Together: Cross-Modal Confirmation.” Wide Angle 15.1 (1993): 30-43. Print. ---. The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale and Edwardsville: Southern Illinois University Press, 1998. Print. Anderson, Joseph D., and Barbara Fisher Anderson. “The Case for an Ecological Metatheory.” Post-Theory: Reconstructing Film Studies. Ed. David Bordwell and Noël Carroll. Madison: University of Wisconsin Press, 1996. 347-367. Print. Aristotle. Poetics. Mineola, N.Y.: Dover Publications, 1997 [350 B.C.]. Print. Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye. Oakland, CA: University of California Press, 1954. Print. ---. Visual Thinking. Oakland, CA: University of California Press, 1969. Print. ---. “A Plea for Visual Thinking.” Critical Inquiry 6.3 (1980): 489-497. Print. Asutay, Erkin, et al. “Emoacoustics: A Study of the Psychoacoustical and Psychological Dimensions of Emotional Sound Design.” Journal of the Audio Engineering Society 60.1/2 (2012): 21-28. Print. Attali, Jacques. Noise: The Political Economy of Music. Trans. Brian Massumi. Theory and History of Literature. Minneapolis: University of Minnesota Press, 1985. Print. Audi, Robert. Moral Perception. Princeton: Princeton University Press, 2013. Print. Bal, Mieke. “Notes on Narrative Embedding.” Poetics Today 2.2 (1981): 41-59. Print. Balázs, Béla. Béla Balázs. Early Film Theory: Visible Man and The Spirit of Film. Ed. Erica Carter. New York: Berghahn Books, 2010. Print. Bálint, Katalin, and Ed Tan. “Describing What It is Like to be Absorbed in a Movie: The Container Metaphor.” Paper presented to the Society for Cognitive Studies of the Moving Image, Franklin & Marshall College, Lancaster, PA, 14 June 2014. Banfield, Ann. “Sjuzet.” Routledge Encyclopedia of Narrative Theory. Ed. David Herman, Manfred Jahn, and Marie-Laure Ryan. London: Routledge, 2005. 535. Print. Bar-Haim, Yair, et al. “When Time Slows Down: The Influence of Threat on Time Perception in Anxiety.” Cognition & Emotion 24.2 (2010): 255-263. Print.


25/06/15 20:26


Barcelona, Antonio. “Clarifying and Applying the Notions of Metaphor and Metonymy Within Cognitive Linguistics: An Update.” Metaphor and Metonymy in Comparison and Contrast. Ed. René Dirven and Ralf Pörings. Berlin/New York: Mouton de Gruyter, 2003. 207-278. Print. Barcelona, Antonio, and Cristina Soriano. “Metaphorical Conceptualization in English and Spanish.” European Journal of English Studies 8.3 (2004): 295-307. Print. Bargh, John A. “Unconscious Thought Theory and Its Discontents: A Critique of the Critiques.” Social Cognition 29.6 (2011): 629-647. Print. Barker, Jennifer. The Tactile Eye: Touch and the Cinematic Experience. Oakland, CA: University of California Press, 2009. Print. Barsalou, Lawrence W. “Perceptual Symbol Systems.” Behavioral and Brain Sciences 22.4 (1999): 577-660. Print. ---. “Situated Simulation in the Human Conceptual System.” Language and Cognitive Processes 18 (2003): 513-562. Print. ---. “Continuity of the Conceptual System Across Species.” Trends in Cognitive Sciences 9.7 (2005): 309-311. Print. ---. “Grounded Cognition.” Annual Review of Psychology 59 (2008): 617-45. Print. Barsalou, Lawrence W., et al. “Grounding Conceptual Knowledge in Modality-Specific Systems.” Trends in Cognitive Sciences 7.2 (2003): 84-91. Print. Barsalou, Lawrence W., Karen Olseth Solomon, and Ling-Ling Wu. “Perceptual Simulation in Conceptual Tasks.” Amsterdam Studies in the Theory and History of Linguistic Science 152 (1999): 209-228. Print. Barsalou, Lawrence W., and Katja Wiemer-Hastings. “Situating Abstract Concepts.” Grounding Cognition: The Role of Perception and Action in Memory, Language, and Thought. Ed. Diane Pecher and Rolf A. Zwaan. New York: Cambridge University Press, 2005. 129-163. Print. Bartlett, Frederic Charles. Remembering: A Study in Experimental and Social Psychology. New York: Cambridge University Press, 1932. Print. Bartsch, Anne. “Emotional Communication: A Theoretical Model.” IGEL 2004: 9th International Congress, 2004. Print. ---. “Meta-Emotion and Genre Preference: What Makes Horror Films and Tear-Jerkers Enjoyable?” Narration and Spectatorship in Moving Images. Ed. Joseph D. Anderson and Barbara Fisher Anderson. Newcastle, UK: Cambridge Scholars Publishing, 2007. 124-135. Print. ---. “Meta-Emotion: How Films and Music Videos Communicate Emotions About Emotions.” Projections: The Journal for Movies and Mind 2.1 (2008): 45-59. Print. ---. “Vivid Abstractions: On the Role of Emotion Metaphors in Film Viewers’ Search for Deeper Insight and Meaning.” Midwest Studies In Philosophy 34.1 (2010): 240-260. Print. Bartsch, Anne, Markus Appel, and Dennis Storch. “Predicting Emotions and Meta-Emotions at the Movies: The Role of the Need for Affect in Audiences’ Experience of Horror and Drama.” Communication Research 37.2 (2010): 167-190. Print. Bartsch, Anne, and Susanne Hübner. “Towards a Theory of Emotional Communication.” CLCWeb: Comparative Literature and Culture 7.4 (2005). Web. Bartsch, Anne, and Mary Beth Oliver. “Making Sense of Entertainment: On the Interplay of Emotion and Cognition in Entertainment Experience.” Journal of Media Psychology: Theories, Methods, and Applications 23.1 (2011): 12-17. Print. Bastiaansen, Jojanneke, Marc Thioux, and Christian Keysers. “Evidence for Mirror Systems in Emotions.” Philosophical Transactions of the Royal Society, Biological Sciences 364.1528 (2009): 2391-2404. Print.


25/06/15 20:26

BIBLIOGRAPHY

Baumeister, Roy F., and E. J. Masicampo. “Conscious Thought Is for Facilitating Social and Cultural Interactions: How Mental Simulations Serve the Animal-Culture Interface.” Psychological Review 117.3 (2010): 945-971. Print. Bechtel, William, and Mitchell Herschbach. “Philosophy of the Cognitive Sciences.” Philosophy of the Sciences. Ed. Fritz Allhoff. Oxford: Wiley-Blackwell, 2010. 239-261. Print. Beer, Randy. “The Dynamics of Active Categorical Perception in an Evolved Model Agent.” Adaptive Behavior 11.4 (2003): 209-243. Print. Bellour, Raymond. Le Corps du cinéma. Paris: POL, 2009. Print. Benforado, Adam. “The Body of the Mind: Embodied Cognition, Law, and Justice.” Saint Louis University Law Journal 54 (2010): 1185-1216. Print. Bertelson, Paul. “Ventriloquism: A Case of Crossmodal Perceptual Grouping.” Advances in Psychology. Ed. Gisa Aschersleben, Talis Bachmann and Jochen Müsseler. Vol. 129. Amsterdam: North-Holland, 1999. 347-362. Print. Bertelson, Paul, and Gisa Aschersleben. “Automatic Visual Bias of Perceived Auditory Location.” Psychonomic Bulletin & Review 5.3 (1998): 482-489. Print. Beugnet, Martine. Cinema and Sensation: French Film and the Art of Transgression. Carbondale: Southern Illinois University Press, 2007. Print. Bickle, John. Philosophy and Neuroscience: A Ruthlessly Reductive Account. Dordrecht: Kluwer Academic Publishers, 2003. Print. Block, Ned. “On a Confusion About a Function of Consciousness.” Behavioral and Brain Sciences 18.2 (1995): 227-287. Print. ---. “Perceptual Consciousness Overflows Cognitive Access.” Trends in Cognitive Sciences 15.12 (2011): 567-75. Print. Blum, Lawrence. “Moral Perception and Particularity.” Ethics 101.4 (1991): 701-725. Print. Bochet, Moshe, et al. “Cerebral Activation Associated with Sexual Arousal in Response to a Pornographic Clip: A 15O–H2O PET Study in Heterosexual Men.” NeuroImage 14.1 (2001): 105-117. Print. Bolivar, Valerie, Annabel Cohen, and John Fentress. “Semantic and Formal Congruency in Music and Motion Pictures: Effects on the Interpretation of Visual Action.” Psychomusicology 13 (1994): 28-59. Print. Booker, Christopher. The Seven Basic Plots: Why We Tell Stories? New York: Continuum, 2004. Print. Bordwell, David. “Camera Movement and Cinematic Space.” Ciné-Tracks – A Journal of Film, Communications, Culture and Politics 1.2 (1977): 19-27. Print. ---. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985. Print. ---. “A Case for Cognitivism.” Iris 9 (1989): 11-40. Print. ---. “Historical Poetics of Cinema.” The Cinematic Text: Methods and Approaches. Ed. Robert Barton Palmer. Vol. 3. Georgia State Literary Studies. New York: AMS Press, 1989. 369-98. Print. ---. On the History of Film Style. Cambridge: Harvard University Press, 1997. Print. ---. “Film Futures.” SubStance 31.1 (2002): 88-104. Print. ---. The Way Hollywood Tells It. Oakland, CA: University of California Press, 2006. Print. ---. Poetics of Cinema. London: Routledge, 2008. Print. ---. “Cognitive Theory.” The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge, 2009. 356-367. Print. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema. London: Routledge, 1985. Print.


25/06/15 20:26


Bordwell, David, and Kristin Thompson. Minding Movies. Chicago: The University of Chicago Press, 2011. Print. ---. Film Art. An Introduction. 10th ed., New York: McGraw-Hill, 2013. Print. Boroditsky, Lera. “Metaphoric Structuring: Understanding Time Through Spatial Metaphors.” Cognition 75.1 (2000): 1-28. Print. Boroditsky, Lera, and Michael Ramscar. “The Roles of Body and Mind in Abstract Thought.” Psychological Science 13.2 (2002): 185-189. Print. Boyd, Brian. On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge, MA: Belknap Press, 2009. Print. Boyd, Brian, Joseph Carroll, and Jonathan Gottschall, eds. Evolution, Literature, and Film: A Reader. New York: Columbia University Press, 2010. Print. Branigan, Edward. “Formal Permutations of the Point-of-View Shot.” Screen 16.3 (1975): 54-64. Print. ---. Narrative Comprehension and Film. London: Routledge, 1992. Print. ---. “Nearly True: Forking Plots, Forking Interpretations: A Response to David Bordwell’s Film Futures.” SubStance 31.1 (2002): 105-114. Print. ---. “How Frame Lines (and Film Theory) Figure.” Film Style and Story: A Tribute to Torben Grodal. Ed. Lennard Højbjerg and Peter Schepelern. Copenhagen: Museum Tusculanum Press, 2003. 59-86. Print. ---. Projecting a Camera: Language Games in Film Theory. London: Routledge, 2006. Print. Bråten, Stein, ed. On Being Moved: From Mirror Neurons to Empathy. Amsterdam: John Benjamins Publishing Company, 2007. Print. Bruner, Jerome Seymour. Actual Minds, Possible Worlds. Cambridge, MA: Harvard University Press, 1987. Print. Bruun Vaage, Margrethe. “Fiction Film and the Varieties of Empathic Engagement.” Midwest Studies in Philosophy 34 (2010): 158-179. Print. Bücher, Karl. Arbeit und Rhythmus. Leipzig: Emmanuel Reinicke, 1924. Print. Buckland, Warren. The Cognitive Semiotics of Film. Cambridge: Cambridge University Press, 2000. Print. ---. Puzzle Films: Complex Storytelling in Contemporary Cinema. Oxford: Wiley – Blackwell, 2009. Print. ---. “The Acousmatic Voice and Metaleptic Narration in Inland Empire.” The Oxford Handbook of Sound and Image in Digital Media. Ed. Carol Vernallis, John Richardson, and Amy Herzog. Oxford: Oxford University Press, 2013. 236-49. Print. Bull, Michael, and Les Black, eds. The Auditory Culture Reader. Oxford: Berg, 2003. Print. Bundgaard, Peer F. “The Cognitive Import of the Narrative Schema.” Semiotica 165, 1.4 (2007): 247-261. Print. Caballero, Rosario, and Iraide Ibarretxe-Antuñano. “Ways of Perceiving, Moving, and Thinking: Revindicating Culture in Conceptual Metaphor Research.” Cognitive Semiotics 5.1-2 (2009): 268-290. Print. Calvert, Gemma A., et al. “Activation of Auditory Cortex During Silent Lipreading.” Science 276.5312 (1997): 593-596. Print. Calvert, Gemma A., Charles Spence, and Barry E. Stein, eds. The Handbook of Multisensory Processes. Cambridge, Mass.: MIT Press, 2004. Print.


25/06/15 20:26

BIBLIOGRAPHY

Campbell, Benjamin C., and Justin R. Garcia. “Neuroanthropology: Evolution and Emotional Embodiment.” Frontiers in Evolutionary Neuroscience 1 (2009). Web. Caracciolo, Marco. “Narrative, Embodiment, and Cognitive Science: Why Should We Care?” Project Narrative talk. Columbus, 7 November 2011. Web. 20 Febr. 2014. Carr, et al. “Neural Mechanisms of Empathy in Humans: A Relay from Neural Systems for Imitation to Limbic Areas.” Proceedings of the National Academy of Sciences 100.9 (2003): 54975502. Print. Carroll, Joseph. “An Evolutionary Paradigm for Literary Study.” Style 42.2/3 (2008): 103-35. Print. Carroll, Noël. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988. Print. ---. The Philosophy of Horror: Or, Paradoxes of the Heart. London: Routledge, 1990. Print. ---. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Print. ---. “A Note on Film Metaphor.” Theorizing the Moving Image. Noël Carroll. Cambridge: Cambridge University Press, 1996. 212-223. Print. ---. Interpreting the Moving Image. Cambridge: Cambridge University Press, 1998. Print. ---. Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Oxford: Blackwell, 2007. Print. ---. The Philosophy of Motion Pictures. Oxford: Blackwell, 2008. Print. ---. On Criticism. London: Routledge, 2009. Print. ---. “Movies, the Moral Emotions and Sympathy.” Midwest Studies in Philosophy XXXIV (2010): 1-19. ---. “Art Interpretation: The 2010 Richard Wollheim Memorial Lecture.” British Journal of Aesthetics 51.2 (2011): 117-135. Print. Casasanto, Daniel. “Similarity and Proximity: When Does Close in Space Mean Close in Mind.” Memory & Cognition 36.6 (2008): 1047-1056. Print. Casasanto, Daniel, and Lera Boroditsky. “Do We Think About Time in Terms of Space?” Paper presented at the 25th Annual Conference of the Cognitive Science Society. Boston, 2003. Print. ---. “Time in the Mind: Using Space to Think about Time.” Cognition 106.2 (2008): 579-593. Print. Casetti, Francesco. Inside the Gaze: The Fiction Film and Its Spectator. Trans. Nell Andrew and Charles O’Brien. Bloomington: Indiana University Press, 1998 [1986]. Print. Chamarette, Jenny. Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Basingstoke: Palgrave Macmillan, 2012. Print. Chandler, Daniel. Semiotics: The Basics. London: Routledge, 2007. Print. Charland, Louis C. “Perceptual Symbol Systems and Emotion.” Behavioral and Brain Sciences 22 (1999): 612-613. Print. Chateau, Dominique, ed. Subjectivity: Filmic Representation and the Spectator’s Experience. Amsterdam: Amsterdam University Press, 2011. Print. Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1978. Print. Chattah, Juan. “Semiotics, Pragmatics, and Metaphor in Film Music Analysis.” Diss. School of Music, Florida State University, 2006. Print. ---. “Conceptual Integration and Film Music Analysis.” Proceedings of the Semiotic Society of America, 2009. Print. Chemero, Anthony. Radical Embodied Cognitive Science. Cambridge, MA: MIT Press, 2011. Print.


25/06/15 20:26


Chion, Michel. Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press, 1994. Print. ---. The Voice in Cinema. Trans. Claudia Gorbman. New York: Columbia University Press, 1999. Print. ---. Film, a Sound Art. Trans. Claudia Gorbman. New York, Chichester: Columbia University Press, 2009. Print. Chwilla, Dorothee J., Daniele Virgillito, and Constance T.W.M. Vissers. “The Relationship of Language and Emotion: N400 Support for an Embodied View of Language Comprehension.” Journal of Cognitive Neuroscience 23.9 (2010): 2400-14. Print. Cienki, Alan, and Cornelia Müller. “Metaphor, Gesture and Thought.” The Cambridge Handbook of Metaphor and Thought. Ed. Raymond W. Gibbs., Jr. Cambridge: Cambridge University Press, 2008. 483-502. Print. Clark, Andy. Supersizing the Mind. Embodiment, Action, and Cognitive Extension. Oxford: Oxford University Press, 2008. Print. Clark, Andy, and David J. Chalmers. “The Extended Mind.” Analysis 58.1 (1998): 7-19. Print. Clarke, Eric. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford: Oxford University Press, 2005. Print. Classen, Constance. Worlds of Sense: Exploring the Senses in History and Across Cultures. London: Longman, 1993. Print. Classen, Constance, David Howes, and Anthony Synnott. Aroma: The Cultural History of Smell. London: Routledge, 1994. Print. Clifton, Roy N. The Figure in Film. London: Associated University Presses, 1983. Print. Coëgnarts, Maarten, and Peter Kravanja. “The Visual and Multimodal Representation of Time in Film, or How Time is Metaphorically Shaped in Space.” Image [&] Narrative 13.3 (2012): 90-95. Web. ---. “Towards an Embodied Poetics of Cinema: The Metaphoric Construction of Abstract Meaning in Film.” Alphaville: Journal of Film and Screen Media 4 (2012): 1-18. Web. ---. “Embodied Visual Meaning: Image Schemas in Film.” Projections: The Journal for Movies and Mind 6.2 (2012): 84-101. Print. ---. “From Thought to Modality: A Theoretical Framework For Analysing Structural-Conceptual Metaphors and Image Metaphors in Film.” Image [&] Narrative 13.1 (2012): 96-113. Web. ---, eds. “Metaphor, Bodily Meaning, and Cinema.” Special issue of Image [&] Narrative 15.1 (2014). Web. ---. “On the Embodiment of Binary Oppositions in Cinema: The Containment Schema in John Ford’s Westerns.” Image [&] Narrative 15.1 (2014): 30-43. Web. Cohen, Annabel. “Congruence-Association Model of Music and Multimedia: Origin and Evolution.” The Psychology of Music in Multimedia. Ed. Siu-Lan Tan, Annabel Cohen, Scott Lipscomb, and Roger Kendall. Oxford Scholarship Online, 2013. Web. 31 Jan 2014. Coleman, Michael. “The Sound of Inception.” Soundworks Collection, 2011. Web. 2 August 2010. Collignon, Olivier, et al. “Audio-Visual Integration of Emotion Expression.” Brain Research 1242.0 (2008): 126-135. Print. Colombetti, Giovanna. “Enaction, Sense-Making and Emotion.” Enaction: Towards a New Paradigm for Cognitive Science. Ed. John Stewart, Olivier Gapenne, and Ezequiel A. Di Paolo. Cambridge, MA: MIT Press, 2010. 145-164. Print. ---. “Some Ideas for the Integration of Neurophenomenology and Affective Neuroscience.” Constructivist Foundations 8.3 (2013): 288-297. Print.


25/06/15 20:26

BIBLIOGRAPHY

---. The Feeling Body: Affective Science Meets the Enactive Mind. Cambridge, MA: MIT Press, 2014. Print. Colombetti, Giovanna, and Evan Thompson. “The Feeling Body: Toward an Enactive Approach to Emotion.” Body in Mind, Mind in Body: Developmental Perspectives on Embodiment and Consciousness. Ed. Willis F. Overton, Ulrich Mueller, and Judith L. Newman. New York: Lawrence Erlbaum Associates, 2008. 45-68. Print. Connolly, William E. Neuropolitics: Thinking, Culture, Speed. Theory out of Bounds. Minneapolis, MN: University of Minnesota Press, 2002. Print. Conroy Dalton, Ruth. “The Secret is to Follow Your Nose: Route Path Selection and Angularity.” Environment and Behavior 35.1 (2003): 107-131. Print. Cooke, Deryck. The Language of Music. Oxford: Oxford University Press, 1959. Print. Coplan, Amy. “Catching Characters’ Emotions: Emotional Contagion Responses to Narrative Fiction Film.” Film Studies 8 (2006): 26-38. Print. ---. “Empathy and Character Engagement.” The Routledge Companion to Philosophy and Film. Ed. Paisley Livingstone and Carl Plantinga. London: Routledge, 2009. 97-110. Print. Corballis, Michael C. “Mirror Neurons and the Evolution of Language.” Brain and Language 112.1 (2010): 25-35. Print. Cox, Arnie. “The Metaphoric Logic of Musical Motion and Space.” Diss. University of Oregon, 1999. Print. ---. “Embodying Music: Principles of the Mimetic Hypothesis.” Music Theory Online 17.2 (2011). Web. 10 Jan 2014. Craig, A.D. “How Do You Feel? Interoception: The Sense of the Physiological Condition of the Body.” Nature Reviews Neuroscience 3 (2002): 655-666. Print. ---. “Interoception: The Sense of the Physiological Condition of the Body.” Current Opinion in Neurobiology 13.4 (2003): 500-505. Print. ---. “Emotional Moments across Time: A Possible Neural Basis for Time Perception in the Anterior Insula.” Philosophical Transactions of the Royal Society B: Biological Sciences 364.1525 (2009): 1933-1942. Print. Csordas, Thomas J. “Embodiment as a Paradigm for Anthropology.” Ethos 18.1 (1990): 5-47. Print. ---, ed. Embodiment and Experience: The Existential Ground of Culture and Self. Vol. 2. Cambridge: Cambridge University Press, 1994. Print. ---. “Embodiment and Cultural Phenomenology”. Perspectives on Embodiment: The Intersections of Nature and Culture. Ed. Gail Weiss and Honi Fern Haber. London: Routledge, 1999. 143-162. Print. Cuccio, Valentina. “From a Bodily-Based Format of Knowledge to Symbols. The Evolution of Human Language.” Biosemiotics 7.1 (2014): 49-61. Print. Cullison, Andrew. “Moral Perception.” European Journal of Philosophy 18.2 (2009): 159-175. Print. Currie, Gregory. Image and Mind: Film, Philosophy, and Cognitive Science. Cambridge: Cambridge University Press, 1995. Print. Currie, Gregory, and Ian Ravenscroft. Recreative Minds: Imagination in Philosophy and Psychology. Oxford: Clarendon Press, 2002. Print. Cutting, James E. “Perceiving Scenes in Film and in the World.” Moving Image Theory. Ecological Considerations. Ed. Joseph D. Anderson and Barbara Fisher Anderson. Carbondale: Southern Illinois University Press, 2007 [2005]. 9-27. Print. Cutting, James E., Kaitlin L. Brunick, and Ayse Candan. “Perceiving Event Dynamics and Parsing Hollywood Films.” Journal of Experimental Psychology: Human Perception and Performance 34.4 (2012): 1476-1490. Print.


25/06/15 20:26


D’Aloia, Adriano. “Cinematic Empathies. Spectator Involvement in the Film Experience.” Kinesthetic Empathy in Creative and Cultural Practices. Ed. Dee Reynolds and Matthew Reason. Bristol-Chicago: Intellect, 2012. 92-107. Print. ---. “The Intangible Ground: A Neurophenomenology of the Film Experience.” NECSUS. European Journal of Media Studies 1.2 (2012): 219-239. Web. ---. La Vertigine e il Volo. L’Esperienza filmica fra estetica e neuroscienze cognitive. Roma: Ente dello Spettacolo, 2013. Print. D’Aloia, Adriano, and Ruggero Eugeni, eds. “Neurofilmology. Audiovisual Studies and the Challenge of Neuroscience.” Special issue of Cinéma & Cie. International Film Studies Journal 2223 (2015). Print. D’Ausilio, Alessandro. “The Role of the Mirror System in Mapping Complex Sounds into Actions.” The Journal of Neuroscience 27.22 (2007): 5847-5848. Print. Dadlez, E.M. “Seeing and Imagination: Emotional Response to Fictional Film.” Midwest Studies in Philosophy XXXIV (2010): 120-135. Damasio, Antonio R. Descartes’ Error: Emotion, Reason and the Human Brain. New York: GP Putnam, 1994. Print. ---. “Investigating the Biology of Consciousness.” Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 353.1377 (1998): 1879-1882. Print. ---. “Cinéma, esprit et émotion: La Perspective du cerveau.” Trafic 67 (2008): 94-101. Print. Damasio, Antonio R., B. J. Everitt, and D. Bishop. “The Somatic Marker Hypothesis and the Possible Functions of the Prefrontal Cortex [and Discussion].” Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 351.1346 (1996): 1413-1420. Print. Dart, Peter. “Figurative Expression in the Film.” Speech Monographs 35.2 (1968): 170-174. Print. Darwin, Charles. On the Origin of Species: By Means of Natural Selection or the Preservation of Favoured Races in the Struggle for Life. Ed. William Bynum. London: Penguin, 2009 [1859]. Print. Davis, Joshua Ian, et al. “Four Applications of Embodied Cognition.” Topics in Cognitive Science 4.4 (2012): 786-793. Print. De Souza, Jonathan. “Musical Instruments, Bodies, and Cognition.” Diss. University of Chicago, 2013. Print. Decety, Jean, and Philip L. Jackson. “The Functional Architecture of Human Empathy.” Behavioral and Cognitive Neuroscience Reviews 3.2 (2004): 71-100. Print. Decety, Jean, and Claus Lamm. “The Biological Basis of Empathy and Intersubjectivity.” Handbook of Neuroscience for the Behavioral Sciences. Ed. John T. Cacioppo and Gary G. Berntson. New York: John Wiley and Sons, 2009. 940-957. Print. Dehaene, Stanislas. Consciousness and the Brain: Deciphering How the Brain Codes Our Thoughts. New York: Viking, 2014. Print. Deignan, Alice. “Image Metaphors and Connotations in Everyday Language.” Annual Review of Cognitive Linguistics 5.1 (2007): 173-192. Print. Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986. Print. ---. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1989. Print. Deleyto, Celestino. “Focalisation in Film Narrative.” ATLANTIS 13.1-2 (1991): 159-177. Print. Dennett, Daniel C. The Intentional Stance. Cambridge, MA: MIT Press, 1987. Print.


25/06/15 20:26

BIBLIOGRAPHY

Devereux, Georges. “Ethnopsychological Aspects of the Terms ‘Deaf ’ and ‘Dumb’.” Ed. David Howes. The Varieties of Sensory Experience: A Sourcebook in the Anthropology of the Senses. Toronto: University of Toronto Press, 1991. 43-46. Print. Dewell, Robert. “Dynamic Patterns of Containment.” From Perception to Meaning: Image Schemas in Cognitive Linguistics. Ed. Beate Hampe. Berlin: Mouton De Gruyter, 2005. 369-394. Print. Di Pellegrino, Giuseppe, et al. “Understanding Motor Events: A Neurophysiological Study.” Experimental Brain Research 91.1 (1992): 176-180. Print. Dias, Alvaro Machado. “The Foundations of Neuroanthropology.” Frontiers in Evolutionary Neuroscience 2 (2010). Web. Dijk, Teun A. van, and Walter Kintsch. Strategies of Discourse Comprehension. New York: Academic Press, 1983. Print. Dijksterhuis, Ap, and Loran F. Nordgren. “A Theory of Unconscious Thought.” Perspectives on Psychological Science 1.2 (2006): 95-109. Print. Doane, Mary Ann. “Ideology and the Practice of Sound Editing and Mixing.” The Cinematic Apparatus. Ed. Teresa De Lauretis and Stephen Heath. New York: St. Martin’s Press, 1980. 47-56. Print. ---. “The Voice in the Cinema: The Articulation of Body and Space.” Yale French Studies 60 (1980): 33-50. Print. Dodge, Ellen, and George Lakoff. “Image Schemas: From Linguistic Analysis to Neural Grounding.” From Perception to Meaning: Image Schemas in Cognitive Linguistics. Ed. Beate Hampe. Berlin: Mouton de Gruyter, 2005. 57-91. Print. Dole, Jake Ivan. “Journeys of Imagination: Embodied Metaphors of Cinematic Absorption.” Paper presented to the Division on Cognitive Approaches to Literature, MLA Chicago, 9 January 2014. Donald, Merlin. A Mind So Rare: The Evolution of Human Consciousness. New York: Norton, 2001. Print. Droit-Volet, Sylvie, et al. “Time, Emotion and the Embodiment of Timing.” Timing & Time Perception 1.1 (2013): 99-126. Print. Droit-Volet, Sylvie, Sophie L. Fayolle, and Sandrine Gil. “Emotion and Time Perception: Effects of Film-Induced Mood.” Frontiers in Integrative Neuroscience 5.33 (2011): 1-9. Print. Droit-Volet, Sylvie, and Sandrine Gil. “The Time-Emotion Paradox.” Philosophical Transactions of the Royal Society B: Biological Sciences 364.1525 (2009): 1943-1953. Print. Droit-Volet, Sylvie, and Warren H. Meck. “How Emotions Colour Our Perception of Time.” Trends in Cognitive Sciences 11.12 (2007): 504-513. Print. Eagleman, David M. “Human Time Perception and Its Illusions.” Current Opinion in Neurobiology 18.2 (2008): 131-36. Print. Eagleman, David M., and Vani Pariyadath. “Is Subjective Duration a Signature of Coding Efficiency?” Philosophical Transactions of the Royal Society B: Biological Sciences 364.1525 (2009): 1841-51. Print. Eder, Jens. “Understanding Characters.” Projections: The Journal for Movies and Mind 4.1 (2010): 16-40. Print. Eikhenbaum, Boris. “Problems of Cine-Stylistics.” Trans. Richard Sherwood. The Poetics of Cinema. Ed. Richard Taylor. Oxford: RPT Publications, 1982. 5-31. Print. Eitan, Zohar, and Roni Granot. “How Music Moves: Musical Parameters and Listeners’ Images of Motion.” Music Perception 23.3 (2006), 221–247. Print. Elsaesser, Thomas, and Warren Buckland. Studying Contemporary American Film. London: Arnold, 2002. Print.


25/06/15 20:26


Elsaesser, Thomas, and Malte Hagener. Film Theory: An Introduction Through the Senses. London: Routledge, 2010. Print. Emanatian, Michele. “Metaphor and the Expression of Emotion: The Value of Cross-Cultural Perspectives.” Metaphor and Symbol 10.3 (1995): 163-182. Print. Erlmann, Veit, ed. Hearing Cultures: Essays on Sound, Listening, and Modernity. Oxford and New York, N.Y.: Berg, 2004. Print. Esrock, Ellen. “Embodying Literature.” Journal of Consciousness Studies 11 (2004): 79-89. Print. Eugeni, Ruggero. “Brains Go to the Movies.” Immagini-corpo. Cinema, Natura, Emozione. Torben Grodal (Cur. Michele Guerra). Parma: Diabasis, 2014. i-xvii. Print. Evans, Nicholas, and David Wilkins. “In the Mind’s Ear: The Semantic Extensions of Perception Verbs in Australian Languages.” Language 76.3 (2000): 546-592. Print. Evans, Vyyan, and Melanie Green. Cognitive Linguistics: An Introduction. Edinburgh: Edinburgh University Press, 2006. Print. Fahlenbrach, Kathrin. “Feeling Sounds. Emotional Aspects of Music Videos.” Proceedings of the 8th Conference of the International Society of Literature and Media (2002). Print. ---. “The Emotional Design of Music Videos. Approaches to Audiovisual Metaphors.” The Journal of Moving Image Studies 4 (2005). Web. 28 August 2006. ---. “Aesthetics and Audiovisual Metaphors in Media Perception.” CLCWeb: Comparative Literature and Culture 7.4 (2005). Web. 2 August 2012. ---. “Embodied Spaces: Film Spaces as (Leading) Audiovisual Metaphors.” Narration and Spectatorship in Moving Images. Ed. Joseph D. Anderson and Barbara Fisher-Anderson. Cambridge: Cambridge Scholar Press, 2007. 105-124. Print. ---. “Emotions in Sound: Audiovisual Metaphors in the Sound Design of Narrative Films.” Projections: The Journal for Movies and Mind 2.2 (2008): 85-103. Print. Falsetto, Mario. Stanley Kubrick: A Narrative and Stylistic Analysis. Westport, CT: Praeger Publishers, 2001. Print. Fauconnier, Gilles. Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge, MA: MIT Press, 1985. Print. Fauconnier, Gilles, and Mark Turner. The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities. New York: Basic Books, 2002. Print. Feldman, Jerome. From Molecules to Metaphor: A Neural Theory of Language. Cambridge, MA: MIT Press, 2006. Print. Feldman, Jerome, and Srinivas Narayanan. “Embodied Meaning in a Neural Theory of Language.” Brain and Language 89.2 (2004): 385-92. Print. Ferrara, Serena. Steadicam: Techniques and Aesthetics. Oxford: Focal Press, 2011. Print. Field, Syd. Screenplay: The Foundations of Screenwriting. New York: Delta, 1979. Print. Fludernik, Monika. Towards a ‘Natural’ Narratology. London: Routledge, 1996. Print. Flueckiger, Barbara. “Sound Effects. Strategies for Sound Effects in Film.” Sound and Music in Film and Visual Media: A Critical Overview. Ed. Graeme Harper, Ruth Doughty, and Jochen Eisentraut. London: Continuum, 2007. 151-179. Print. Fodor, Jerry A. The Language of Thought. Harvard University Press, 1975. Print. ---. The Modularity of Mind: An Essay on Faculty Psychology. Cambridge, MA: MIT Press, 1983. Print ---. LOT 2: The Language of Thought Revisited. Oxford: Oxford University Press, 2010. Print.


25/06/15 20:26

BIBLIOGRAPHY

Fogassi, Leonardo. “The Mirror Neuron System: How Cognitive Functions Emerge from Motor Organization.” Journal of Economic Behavior & Organization 77.1 (2011): 66-75. Print. Fogassi, Leonardo, et al. “Parietal Lobe: From Action Organization to Intention Understanding.” Science 308 (2005): 662-667. Print. Fogassi, Leonardo, and Pier Francesco Ferrari. “Mirror Neurons and the Evolution of Embodied Language.” Current Directions in Psychological Science 16.3 (2007): 136-41. Print. Forceville, Charles. Pictorial Metaphor in Advertising. London: Routledge, 1996. Print. ---. “The Identification of Target and Source in Pictorial Metaphors.” Journal of Pragmatics 34.1 (2002): 1-14. Print. ---. “Visual Representations of the Idealized Cognitive Model of Anger in the Asterix Album La Zizanie.” Journal of Pragmatics 37.1 (2005): 69-88. Print. ---. “Multimodal Metaphor in Ten Dutch TV Commercials.” The Public Journal of Semiotics 1.1 (2007): 15-34. Print. ---. “Metaphor in Pictures and Multimodal Representations.” The Cambridge Handbook of Metaphor and Thought. Ed. Raymond W. Gibbs, Jr. Cambridge: Cambridge University Press, 2008. 462-482. Print. ---. “Non-Verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research.” Multimodal Metaphor. Ed. Charles Forceville and Eduardo Urios-Aparisi. Berlin: Mouton de Gruyter, 2009. 19-42. Print. ---. “The Journey Metaphor and the Source-Path-Goal Schema in Agnès Varda’s Autobiographical Gleaning Documentaries.” Beyond Cognitive Metaphor Theory: Perspectives on Literary Metaphor. Ed. Monika Fludernik. London: Routledge, 2011. 281-297. Print. Forceville, Charles, and Marloes Jeulink. “The Flesh and Blood of Embodied Understanding: The Source-Path-Goal Schema in Animation Film.” Pragmatics & Cognition 19.1 (2011): 37-59. Print. Forceville, Charles, and Thijs Renckens. “The good is light and bad is darkness Metaphors in Feature Films.” Metaphor and the Social World 3.2 (2013). Print. Forceville, Charles, and Eduardo Urios-Aparisi, eds. Multimodal Metaphor. Berlin: Mouton de Gruyter, 2009. 19-42. Print. Freedberg, David, and Vittorio Gallese. “Motion, Emotion and Empathy in Esthetic Experience.” Trends in Cognitive Science 11.5 (2007): 197-203. Print. Frijda, Nico H. The Emotions: Studies in Emotion and Social Interaction. Cambridge: Cambridge University Press, 1986. Print. ---. “The Laws of Emotion.” American Psychologist 42 (1988): 349-358. Print. ---. “The Psychologist’s Point of View.” Handbook of Emotions. Ed. Michael Lewis and Jeannette M. Haviland-Jones. 2nd ed. New York: Guilford Press, 2004. 91-115. Print. Furman, Orit, et al. “They Saw A Movie: Long-Term Memory for an Extended Audiovisual Narrative.” Learning and Memory 14 (2007). 457-467. Print. Galati, Gaspare, et al. “A Selective Representation of the Meaning of Actions in the Auditory Mirror System.” NeuroImage 40.3 (2008): 1274-1286. Print. Gallagher, Shaun. How the Body Shapes the Mind. Oxford: Oxford University Press, 2005. Print. Gallagher, Shaun, and Daniel Schmicking, eds. Handbook of Phenomenology and Cognitive Science. New York, NY: Springer, 2010. Print. Gallagher, Shaun, and Dan Zahavi. The Phenomenological Mind: An Introduction to Philosophy of Mind and Cognitive Science. London: Routledge, 2007. Print.


25/06/15 20:26


Gallese, Vittorio. “The Manifold Nature of Interpersonal Relations: The Quest for a Common Mechanism.” Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358.1431 (2003): 517-528. Print. ---. “The Roots of Empathy: The Shared Manifold Hypothesis and the Neural Basis of Intersubjectivity.” Psychopathology 36 (2003): 171–180. Print. ---. “Embodied Simulation: From Neurons to Phenomenal Experience.” Phenomenology and the Cognitive Sciences 4.1 (2005): 23-48. Print. ---. “Intentional Attunement: A Neurophysiological Perspective on Social Cognition and Its Disruption in Autism.” Brain Research 1079.1 (2006): 15-24. Print. ---. “Before and Below ‘Theory of Mind’: Embodied Simulation and the Neural Correlates of Social Cognition.” Philosophical Transactions of the Royal Society B: Biological Sciences 362.1480 (2007): 659-669. Print. ---. “Mirror Neurons, Embodied Simulation, and the Neural Basis of Social Identification.” Psychoanalytic Dialogues 19.5 (2009): 519-536. Print. ---. “Embodied Simulation Theory: Imagination and Narrative.” Neuropsychoanalysis 13.2 (2011): 196-200. Print. ---. “The ‘Shared Manifold’ Hypothesis: From Mirror Neurons to Empathy.” Journal of Consciousness Studies 8.5-7 (2011): 33-50. Print. Gallese, Vittorio, et al. “Action Recognition in the Premotor Cortex.” Brain 119.2 (1996): 593609. Print. Gallese, Vittorio, and Valentina Cuccio. “The Paradigmatic Body. Embodied Simulation, Intersubjectivity, the Bodily Self, and Language.” Openmind. Ed. Thomas Metzinger and Jennifer M. Windt. Frankfurt am Main: MIND Group, 2015. 1-23. Print. Gallese, Vittorio, and Alvin Goldman. “Mirror Neurons and the Simulation Theory of Mind-Reading.” Trends in Cognitive Sciences 2.12 (1998): 493-501. Print. Gallese, Vittorio, and Michele Guerra. “Embodying Movies: Embodied Simulation and Film Studies.” Cinema: Journal of Philosophy and the Moving Image 3 (2012): 183-210. Web. ---. “Film, Corpo, Cervello: Prospettive Naturalistiche Per la Teoria del Film.” Fata Morgana 20 (2013): 77-91. Print. ---. “The Feeling of Motion: Camera Movements and Motor Cognition.” Cinéma & Cie. International Film Studies Journal 22-23 (2015). Print. Gallese, Vittorio, Christian Keysers, and Giacomo Rizzolatti. “A Unifying View of the Basis of Social Cognition.” Trends in Cognitive Sciences 8.9 (2004): 396-403. Print. Gallese, Vittorio, and George Lakoff. “The Brain’s Concepts: The Role of the Sensory-Motor System in Conceptual Knowledge.” Cognitive Neuropsychology 22.3/4 (2005): 455–479. Print. Gaut, Berys. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press, 2010. Print. Gazzola, Valeria, Lisa Aziz-Zadeh, and Christian Keysers. “Empathy and the Somatotopic Auditory Mirror System in Humans.” Current Biology 16.18 (2006): 1824-1829. Print. Gendron, Maria. “Defining Emotion: A Brief History.” Emotion Review 2.4 (2010): 371-372. Print. Gendron, Maria, and Lisa Feldman Barrett. “Reconstructing the Past: A Century of Ideas About Emotion in Psychology.” Emotion Review 1.4 (2009): 316-339. Print. Genette, Gérard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. Ithaca, NY: Cornell University Press, 1980. Print. Gentner, Dedre. “Spatial Metaphors in Temporal Reasoning.” Spatial Schemas and Abstract Thought. Ed. Merideth Gattis. Cambridge, MA: MIT Press, 2001. 203-222. Print.


25/06/15 20:26

BIBLIOGRAPHY

Gentner, Dedre, Mutsumi Imai, and Lera Boroditsky. “As Time Goes By: Evidence For Two Systems In Processing Space ➝ Time Metaphors.” Language and Cognitive Processes 17.5 (2002): 537-565. Print. Ghazanfar, Asif A., and Charles E. Schroeder. “Is Neocortex Essentially Multisensory?” Trends in Cognitive Sciences 10.6 (2006): 278-285. Print. Giannetti, Louis D. “Cinematic Metaphors.” Journal of Aesthetic Education 6.4 (1972): 46-91. Print ---. Godard and Others. Essays on Film Form. London: Tantivy Press, 1975. Print. Gibbs, Raymond W., Jr. “Taking Metaphor Out of Ours Heads and Into the Cultural World.” Metaphor in Cognitive Linguistics. Ed. Raymond W. Gibbs, Jr. and Gerard Steen. Amsterdam: John Benjamins, 1999. 145-166. Print. ---. “Metaphor Interpretation as Embodied Simulation.” Minds and Language 21.3 (2006): 434458. Print. ---. Embodiment and Cognitive Science. Cambridge: Cambridge University Press, 2006. Print. Gibbs, Raymond W., Jr., and Jody Bogdonovich. “Mental Imagery in Interpreting Poetic Metaphor.” Metaphor and Symbol 14.1 (1999): 37-44. Print. Gibbs, Raymond W., Jr., and Marcus Perlman. “The Contested Impact of Cognitive Linguistic Research on Psycholinguistic Theories of Metaphor Understanding.” Cognitive Linguistics: Current Applications and Future Perspectives. Ed. Gitte Kristiansen, Michel Achard, René Dirven, and F. Ruiz de Mendoza Ibañez. Berlin: Mouton de Gruyter, 2006. 211-228. Print. Gibson, James J. The Ecological Approach to Visual Perception. Boston, MA: Houghton Mifflin, 1979. Print. Gjerdingen, Robert. “Apparent Motion in Music?” Music Perception 11 (1994): 335–370. Print. Gleason, Daniel W. “The Visual Experience of Image Metaphor: Cognitive Insights into Imagist Figures.” Poetics Today 30.3 (2009): 436-470. Print. Goldman, Alvin I. Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading. Oxford: Oxford University Press, 2006. Print. Goodman, Nelson. “The Status of Style.” Critical Inquiry 1.4 (1975): 799-811. Print. Gordon, Robert M. “Folk Psychology as Simulation.” Mind and Language 1 (1986): 158-171. Print. Gottschall, Jonathan. Literature, Science, and a New Humanities. Cognitive Studies in Literature and Performance. New York: Palgrave Macmillan, 2008. Print. Goydke, Katja N., et al. “Changes in Emotional Tone and Instrumental Timbre Are Reflected by the Mismatch Negativity.” Cognitive Brain Research 21.3 (2004): 351-359. Print. Grabowski, Michael, ed. Neuroscience and Media: New Understandings and Representations: New Understandings and Representations. London: Routledge, 2015. Print. Grady, Joseph. “Foundations of Meaning: Primary Metaphors and Primary Scenes.” Diss. University of California. Berkeley, 1997. Print. ---. “A Typology of Motivation for Conceptual Metaphor: Correlation vs. Resemblance.” Metaphor in Cognitive Linguistics. Ed. Raymond W. Gibbs, Jr. and Gerard J. Steen. Amsterdam: Benjamins, 1999. 79-100. Print. Green, Melanie C., and John K. Donahue. “Simulated Worlds: Transportation into Narratives.” Handbook of Imagination and Mental Simulation. Ed. Keith D. Markman, William Martin Klein, and Julie A. Suhr. New York: Psychology Press, 2009. 241-256. Print. Greene, Joshua. “From Neural ‘Is’ to Moral ‘Ought”: What are the Moral Implications of Neuroscientific Moral Psychology?” Nature Reviews/Neuroscience 4.10 (2003): 847-850. Print.


25/06/15 20:26


Greimas, Algirdas Julien. Sémantique structurale: Recherche de méthode. Paris: Larousse, 1966. Print. Grèzes, Julie, et al. “Activations Related to ‘Mirror’ and ‘Canonical’ Neurons in the Human Brain: A fMRI Study.” NeuroImage 18.4 (2003): 928-937. Print. ---. “Objects Automatically Potentiate Action: An fMRI Study of Implicit Processing.” European Journal of Neuroscience 17.12 (2003): 2735-2740. Print. Grice, Paul. Studies in the Way of Words. Cambridge, MA: Harvard University Press, 1987. Print. Grimshaw, Mark. “Sound and Immersion in the First-Person Shooter.” International Journal of Intelligent Games & Simulation 5.1 (2008): 2-8. Print. ---. The Acoustic Ecology of the First-Person Shooter: The Player Experience of Sound in the First-Person Shooter Computer Game. Saarbrücken, Germany: VDM Verlag, 2008. Print. Grodal, Torben. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition. Oxford: Oxford University Press, 1997. Print. ---. Embodied Visions: Evolution, Emotion, Culture, and Film. Oxford: Oxford University Press, 2009. Print. Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey. Stanford, CA: Stanford University Press, 2004. Print. Gunning, Tom. “‘Now You See It, Now You Don’t’: The Temporality of the Cinema of Attractions.” Velvet Light Trap 32.6 (1993): 3-12. Print. Haidt, Jonathan. “The Emotional Dog and Its Rational Tail: A Social Intuitionist Approach to Moral Judgment.” Psychological Review 108.4 (2001): 814-834. Print. Hall, Deborah A., and David R. Moore. “Auditory Neuroscience: The Salience of Looming Sounds.” Current Biology 13.3 (2003): R91-R93. Print. Hall, Edward T. “A System for the Notation of Proxemic Behavior.” American Anthropologist 65.5 (1963): 1003-1026. Print. ---. The Hidden Dimension. Garden City, NY: Doubleday, 1966. Print. Hampe, Beate. “Image Schemas in Cognitive Linguistics: Introduction.” From Perception to Meaning: Image Schemas in Cognitive Linguistics. Ed. Beate Hampe. Berlin: Mouton de Gruyter, 2005. 1-12. Print. Handel, Stephen. “Space Is to Time as Vision Is to Audition: Seductive but Misleading.” Journal of Experimental Psychology: Human Perception and Performance 14.2 (1988): 315-317. Print. Hansen, Miriam. Babel & Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press, 1991. Print. Hasson, Uri et al. “Neurocinematics: The Neuroscience of Film.” Projections: The Journal for Movies and Mind 2.1 (2008): 1-26. Print. Hatten, Robert. “On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven.” Indiana Theory Review 12 (1991): 75-98. Print. Hayward, Philip. Off the Planet: Music, Sound and Science Fiction Cinema. London: John Libbey, 2004. Print. Heath, Stephen. “On Screen, In Frame: Film and Ideology.” Quarterly Review of Film Studies 1.3 (1976): 251-265. Print. Heimann, Katrin et al. “Moving Mirrors: A High Density EEG Study Investigating the Effects of Camera Movements on Motor Cortex Activation During Action Observation.” Journal of Cognitive Neuroscience 26.9 (2014): 2087-2101. Print. Herman, David, ed. The Cambridge Companion to Narrative. Cambridge: Cambridge University Press, 2007. Print.


25/06/15 20:26

BIBLIOGRAPHY

Hilpert, Martin. “Keeping an Eye on the Data: Metonymies and Their Patterns.” Corpus-Based Approaches to Metaphor and Metonymy. Ed. Anatol Stefanowitsch and Stefan Thomas Gries. Berlin: Mouton de Gruyter, 2006. 123-152. Print. Hogan, Patrick Colm. “A Passion for Plot: Prolegomena to Affective Narratology.” Symploke 18.1-2 (2010): 65-81. Print. ---. Affective Narratology: The Emotional Structure of Stories. Lincoln, NE: University of Nebraska Press, 2011. Print. Højberg, Lennard. “The Circular Camera Movement: Style, Narration, and Embodiment.” Projections: The Journal for Movies and Mind 8.2 (2014): 71-88. Print. Holland, Norman. “Spider-Man? Sure! The Neuroscience of Suspending Disbelief.” Interdisciplinary Science Reviews 33.4 (2008): 312-320. Print. Hommel, Bernhard, et al. “The Theory of Event Coding (Tec): A Framework for Perception and Action Planning.” Behavioral and Brain Sciences 24 (2001): 849-937. Print. Hoshiyama, Minoru, Atsuko Gunji, and Ryusuke Kakigi. “Hearing the Sound of Silence: A Magnetoencephalographic Study.” NeuroReport 12.6 (2001): 1097-1102. Print. Hubbard, Timothy L. “Auditory Imagery: Empirical Findings.” Psychological Bulletin 136.2 (2010): 302-329. Print. Huron, David. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press, 2006. Print. Hurtienne, Jörn, et al. “Physical Gestures for Abstract Concepts: Inclusive Design with Primary Metaphors.” Interacting with Computers 22.6 (2010): 475-484. Print. Husain, Gabriella, William Thomson, and Glenn Schellenberg. “Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities.” Music Perception 20 (2002): 151-171. Print. Iacoboni, Marco, et al. “Grasping the Intentions of Others with One’s Own Mirror Neuron System.” PLoS Biology 3.3 (2005): 0529-0535. Print. Iacoboni, Marco. “Imitation, Empathy, and Mirror Neurons.” Annual Review of Psychology 60 (2009): 653-670. Print. ---. “Neurobiology of Imitation.” Current Opinion in Neurobiology 19.6 (2009): 661-665. Print. ---. Mirroring People: The Science of Empathy and How we Connect with Others. New York: Picador, 2009. Print. Ibarretxe-Antuñano, Iraide. “Vision Metaphors for the Intellect: Are They Really Cross-Linguistic?” ATLANTIS 30.1 (2008): 15-33. Print. ---. “The Relationship Between Conceptual Metaphor and Culture.” Intercultural Pragmatics 10.2 (2013): 315-339. Print. Ihde, Don. Embodied Technics. Copenhagen: Automatic Press, 2010. Print. Iriki, Atsushi. “The Neural Origins and Implications of Imitation, Mirror Neurons and Tool Use.” Current Opinion in Neurobiology 16.6 (2006): 660-667. Print. Iwase, Masao, et al. “Neural Substrate of Human Facial Expression of Pleasant Emotion Induced by Comic Films: A PET Study.” NeuroImage 17.2 (2002): 758-768. Print. Izard, Carroll E. “The Many Meanings/Aspects of Emotion: Definitions, Functions, Activation, and Regulation.” Emotion Review 2.4 (2010): 363-370. Print. James, William. The Principles of Psychology. Vol. 1 & 2. London: Macmillan, 1890. Print. Johnson, Mark. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago, IL: The University of Chicago Press, 1987. Print.


25/06/15 20:26


---. Moral Imagination: Implications of Cognitive Science for Ethics. Chicago, IL: The University of Chicago Press, 1993. Print. ---. “Embodied Meaning and Cognitive Science.” Language Beyond Postmodernism: Saying and Thinking in Gendlin’s Philosophy. Evanston: Northwestern University Press, 1997. 148-175. Print. ---. “Embodied Reason.” Perspectives on Embodiment: The Intersections of Nature and Culture. Ed. Gail Weiss and Honi Haber. London: Routledge, 1999. 81-102. Print. ---. “The Philosophical Significance of Image Schemas.” From Perception to Meaning: Image Schemas in Cognitive Linguistics. Ed. Beate Hampe. Berlin: Mouton de Gruyter, 2005. 15-33. Print. ---. The Meaning of the Body: Aesthetics of Human Understanding. Chicago, IL: The University of Chicago Press, 2007. Print. ---. “’The Stone That Was Cast out Shall Become the Cornerstone’: The Bodily Aesthetics of Human Meaning.” Journal of Visual Art Practice 6.2 (2007): 89-103. Print. ---. “Identity, Bodily Meaning, and Art.” Art and Identity: Essays on the Aesthetic Creation of Mind. Ed. Tone Roald and Johannes Lang. Amsterdam/New York, NY: Rodopi, 2013. 15-38. Print. Johnson, Mark, and Steve Larson. “Something in the Way She Moves – Metaphors of Musical Motion.” Metaphor and Symbol 12.2 (2003): 63-84. Print. Johnson-Laird, and Philip Nicholas. Mental Models: Towards a Cognitive Science of Language, Inference, and Consciousness. Cambridge, MA: Cambridge University Press, 1983. Print. Jones, Ward E. “Introduction.” Ethics at the Cinema. Ed. Ward E. Jones and Samantha Vice. Oxford: Oxford University Press, 2011. Print. Jullier, Laurent. “Should I See What I Believe? Audiovisual Ostranenie and Evolutionary-Cognitive Film Theory.” Ostrannenie. Ed. Annie van den Oever. Amsterdam: Amsterdam University Press, 2010. 119-230. Print. Juslin, Patrik N. “Perceived Emotional Expression in Synthesized Performances of a Short Melody: Capturing the Listener’s Judgment Policy.” Musicae Scientiae 1 (1997): 225-256. Print. ---. “From Everyday Emotions to Aesthetic Emotions: Towards a Unified Theory of Musical Emotions.” Physics of Life Reviews 10.3 (2012): 235-266. Print. Juslin, Patrik N., et al. “How Does Music Evoke Emotions? Exploring the Underlying Mechanisms.” Handbook of Music and Emotion: Theory, Research, Applications. Ed. Patrik N. Juslin and John A. Sloboda. Series in Affective Science. Oxford: Oxford University Press, 2010. 605-642. Print. Juslin, Patrik N., and John A. Sloboda. “Introduction: Aims, Organization, and Terminology.” Handbook of Music and Emotion: Theory, Research, Applications. Ed. Patrik N. Juslin and John A. Sloboda. Series in Affective Science. Oxford: Oxford University Press, 2010. 3-12. Print. Juslin, Patrik N., and Daniel Västfjäll. “Emotional Responses to Music: The Need to Consider Underlying Mechanisms.” Behavioral and Brain Sciences 31 (2008): 559-575. Print. Kappelhoff, Herman, and Cornelia Müller. “Embodied Meaning Construction: Multimodal Metaphor and Expressive Movement in Speech, Gesture, and Feature Film.” Metaphor and the Social World 1.2 (2011): 121–153. Print. Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001. Print. Kawin, Bruce F. Mindscreen: Bergman, Godard, and First-Person Film. Rochester: Dalkey Archive Press, 2006. Print. Keating, Patrick. “Emotional Curves and Linear Narratives.” The Velvet Light Trap 58.1 (2006): 4-15. Print.


25/06/15 20:26

BIBLIOGRAPHY

Kennedy, Barbara M. Deleuze and Cinema: The Aesthetics of Sensation. Edinburgh: Edinburgh University Press, 2000. Print. Keysers, Christian, et al. “Audiovisual Mirror Neurons and Action Recognition.” Experimental Brain Research 153 (2003): 628-636. Print. Keysers, Christian, and Valeria Gazzola. “Expanding the Mirror: Vicarious Activity for Actions, Emotions, and Sensations.” Current Opinion in Neurobiology 19.6 (2009): 666-671. Print. Kimmel, Michael. “Properties of Cultural Embodiment: Lessons from the Anthropology of the Body.” Body, Language and Mind: Sociocultural Situatedness. Vol. 2. Ed. Dirk Geeraerts, René Dirven, and John R. Taylor. Berlin: Mouton de Gruyter, 2008. 77-108. Print. Kiss, Miklós. “Narrative Metalepsis as Diegetic Concept in Christopher Nolan’s Inception.” Acta Film and Media Studies 5 (2012): 35-54. Print. ---. “Navigation in Complex Films: Real-life Embodied Experiences Underlying Narrative Categorisation.” Ed. Julia Eckel, et al. (Dis)Orienting Media and Narrative Mazes. Bielefeld: Transcript, 2013. 237-256. Print. Kitses, Jim. Horizons West: Directing The Western from John Ford to Clint Eastwood. London: British Film Institute, 2004. Print. Kivy, Peter. Sound and Semblance: Reflections on Musical Representation. Princeton: Princeton University Press, 1984. Print. Kleinginna, Paul R., and Anne M. Kleinginna. “A Categorized List of Motivation Definitions, with a Suggestion for a Consensual Definition.” Motivation and Emotion 5.3 (1981): 263-291. Print. Knight, Deborah. “The Third Man: Ethics, Aesthetics, Irony.” Ethics at the Cinema. Ed. Ward E. Jones and Samantha Vice. Oxford: Oxford University Press, 2011. 285-299. Print. Kohler, Evelyne, et al. “Hearing Sounds, Understanding Actions: Action Representation in Mirror Neurons.” Science 297 (2002): 846-848. Print. Kovács, András Bálint. Screening Modernism. European Art Cinema, 1950-1980. Chicago: The University of Chicago Press, 2007. Print. Kövecses, Zoltán. Metaphors of Anger, Pride, and Love: A Lexical Approach to the Structure of Concepts. Amsterdam: Benjamins, 1986. Print. ---. Metaphor and Emotion: Language, Culture, and Body in Human Feeling. Cambridge: Cambridge University Press, 2000. Print. ---. Metaphor: A Practical Introduction. Oxford: Oxford University Press, 2002. Print. ---. Metaphor in Culture: Universality and Variation. Cambridge: Cambridge University Press, 2005. Print. ---. Language, Mind and Culture: A Practical Introduction. Oxford: Oxford University Press, 2006. Print. ---. “Metaphor and Emotion.” The Cambridge Handbook of Metaphor and Thought. Ed. Raymond W. Gibbs, Jr. Cambridge: Cambridge University Press, 2008. 380-397. Print. ---. “The Metaphor–Metonymy Relationship: Correlation Metaphors Are Based on Metonymy.” Metaphor and Symbol 28.2 (2013): 75-88. Print. Kozloff, Sarah. Invisible Storytellers: Voice-over Narration in American Fiction Film. Oakland, CA: University of California Press, 1988. Print. Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Oxford: Oxford University Press, 1960. Print. Kraemer, David J. M., et al. “Musical Imagery: Sound of Silence Activates Auditory Cortex.” Nature 434.7030 (2005): 158-158. Print.


25/06/15 20:26


Kuhn, Markus. Filmnarratologie. Ein Erzähltheoretisches Analysemodell. Berlin: Walter De Gruyter, 2011. Print. Lahav, Amir, Elliot Saltzman, and Gottfried Schlaug. “Action Representation of Sound: Audiomotor Recognition Network While Listening to Newly Acquired Actions.” Journal of Neuroscience 27.2 (2007): 308-314. Print. Lakoff, George. “Image Metaphors.” Metaphor and Symbolic Activity 2.3 (1987): 219-222. Print. ---. Women, Fire and Dangerous Things: What Our Categories Reveal About the Mind. Chicago, IL: University of Chicago Press, 1987. Print. ---. “The Contemporary Theory of Metaphor.” Metaphor and Thought. 2nd ed. Ed. Andrew Ortony. Cambridge: Cambridge University Press, 1993. 202-251. Print. ---. “Reflections on Metaphor and Grammar.” Essays in Semantics and Pragmatics: In Honor of Charles J. Fillmore. Ed. Masayoshi Shibatani and Sandra A. Thompson. Amsterdam: John Benjamins Publishing, 1995. 133-144. Print. ---. Moral Politics: What Conservatives Know That Liberals Don’t. Chicago, IL: The University of Chicago Press, 1996. Print. ---. “The Neural Theory of Metaphor.” The Cambridge Handbook of Metaphor and Thought. Ed. Raymond W. Gibbs, Jr. Cambridge: Cambridge University Press, 2008. 17-38. Print. ---. “Explaining Embodied Cognition Results.” Topics in Cognitive Science 4 (2012): 773-785. Print. Lakoff, George, and Mark Johnson. “Conceptual Metaphor in Everyday Language.” The Journal of Philosophy 77.8 (1980): 453-486. Print. ---. Metaphors We Live By. Chicago, IL: University of Chicago Press, 1980. Print. ---. Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought. New York: Basic Books, 1999. Print. Lakoff, George, and Mark Turner. More than Cool Reason: A Field Guide to Poetic Metaphor. Chicago, IL: University of Chicago Press, 1989. Print. Langacker, Ronald. Foundations of Cognitive Grammar, Volume I. Stanford, CA: Stanford University Press, 1987. Print. Langkjær, Birger. “Making Fictions Sound Real – on Film Sound, Perceptual Realism and Genre.” MedieKultur 26.48 (2010): 5-17. Print. Laurot, Yves de. “From Logos to Lens.” Movies and Methods An Anthology. Vol. 1. Ed. Bill Nichols. Oakland, CA: University of California Press, 1976. 578-582. Print. Lawrence, Amy. “The Pleasures of Echo: The Listener and the Voice.” Journal of Film and Video 40.4 (1988): 3-14. Print. ---. Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema. Oakland, CA: University of California Press, 1991. Print. Lazarus, Richard S. “Thoughts on the Relations between Emotion and Cognition.” American Psychologist 37.9 (1982): 1019-1024. Print. ---. “On the Primacy of Cognition.” American Psychologist 39.2 (1984): 124-129. Print. Le Bel, Ronald M., Jaime A. Pineda, and Anu Sharma. “Motor-Auditory-Visual Integration: The Role of the Human Mirror Neuron System in Communication and Communication Disorders.” Journal of Communication Disorders 42.4 (2009): 299-304. Print. Ledoux, Joseph E. “Cognitive-Emotional Interactions in the Brain.” Cognition & Emotion 3.4 (1989): 267-289. Print. Lee, Kwan Min. “Presence, Explicated.” Communication Theory 14.1 (2004): 27-50. Print.


25/06/15 20:26

BIBLIOGRAPHY

---. “Why Presence Occurs: Evolutionary Psychology, Media Equation, and Presence.” Presence: Teleoperators & Virtual Environments 13.4 (2004): 494-505. Print. Leman, Marc. Embodied Music Cognition and Mediation Technology. Cambridge, MA: MIT Press, 2007. Print. Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983. Print. Levin, Daniel T., and Daniel J. Simons. “Perceiving Stability in a Changing World: Combining Shots and Integrating Views in Motion Pictures and the Real World.” Media Psychology 2.4 (2000): 357-380. Print. Levitin, Daniel J. This Is Your Brain on Music: The Science of a Human Obsession. New York: Dutton, 2006. Print. Leydon, Rebecca. “Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime.” Music Theory Online 18.2 (2012): 1-17. Print. Lipps, Theodor. Ästhetik. Psychologie des Schönen und der Kunst, I: Grundlegung der Ästhetik. Hamburg-Leipzig: Voss, 1903. Print. Lipscomb, Scott. “Cross-Modal Alignment of Accent Structures In Multimedia.” The Psychology of Music in Multimedia. Ed. Siu-Lan Tan, et al. Oxford Scholarship Online, 2013. Web. 30 Jan 2014. Lipscomb, Scott, and Eugene Kim. “Perceived Match Between Visual Parameters and Auditory Correlates: An Experimental Multimedia Investigation.” Proceedings of the 8th International Conference on Music Perception & Cognition. Ed. Scott D. Lipscomb, et al. Adelaide: Causal Productions, 2004. 72-75. Print. Livingston, Paisley, and Carl Plantinga, eds. The Routledge Companion to Philosophy and Film. London: Routledge, 2009. Print. Lombard, Matthew, and Theresa Ditton. “At the Heart of It All: The Concept of Presence.” Journal of Computer-Mediated Communication. 3.2 (1997). Web. 21 February 2011. Maalej, Zouhair. “Figurative Language in Anger Expressions in Tunisian Arabic: An Extended View of Embodiment.” Metaphor and Symbol 19.1 (2004): 51-75. Print. Macallan, Helen, and Andrew Plain. “Filmic Voices.” Voice: Vocal Aesthetics in Digital Arts and Media. Ed. Norie Neumark, Ross Gibson, and Theo Van Leeuwen. Cambridge, MA: MIT Press, 2010. 243-266. Print. MacCabe, Colin. Tracking the Signifier: Theoretical Essays on Film, Linguistics, Literature. Minneapolis: University of Minnesota Press, 1985. Print. MacDougall, David. The Corporeal Image: Film Ethnography, and the Senses. Princeton: Princeton University Press, 2006. Print. Magliano, Joseph and Jeffrey M. Zacks. “The Impact of Continuity Editing in Narrative Film on Event Segmentation.” Cognitive Science 35.8 (2011): 1489-1517. Print. Mallgrave, Harry. Architecture and Embodiment: The Implications of the New Sciences and Humanities for Design. Routledge, 2013. Print. Mamber, Stephen. “Narrative Mapping.” New Media: Theories and Practices of Intertextuality. Ed. Anna Everett and John Caldwell. London: Routledge, 2003. 145-158. Print. Mandler, Jean Matter. Stories, Scripts, and Scenes. New York: Psychology Press, 1984. Print. Mar, Raymond A., and Keith Oatley. “The Function of Fiction Is the Abstraction and Simulation of Social Experience.” Perspectives on Psychological Science 3.3 (2008): 173-192. Print. Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press, 2000. Print.


25/06/15 20:26


---. Touch: Sensuous Theory and Multisensory Media. Minneapolis, MN: University of Minnesota Press, 2002. Print. Marshall, Sandra, and Annabel Cohen. “Effects of Musical Soundtracks on Attitudes Toward Animated Geometric Figures.” Music Perception 6 (1988): 95-112. Print. Martin, Marcel. Le Langage cinématographique. Paris: Les Éditions du CERF, 1955. Print. Martinet, André. Elements of General Linguistics. Trans. Elisabeth Palmer. London: Faber and Faber, 1964. Print. Mascia-Lees, Frances E., ed. A Companion to the Anthropology of the Body and Embodiment. Vol. 22. New York, NY: John Wiley & Sons, 2011. Print. Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Post-Contemporary Interventions. Durham, NC: Duke University Press, 2002. Print. Mayer, Jessica R. “Body, Psyche and Society: Conceptions of Illness in Ommura, Eastern Highlands, Papua New Guinea.” Oceania 52 (1982): 240-260. Print. McGurk, Harry, and John MacDonald. “Hearing Lips and Seeing Voices.” Nature 264 (1976): 746-748. Print. McMahan, Alison, and Warren Buckland. “Cognitive Schemas and Virtual Reality.” Intelligent Agent. 5.1 (2005). Web. Meier, Brian P., et al. “What’s “Up” with God? Vertical Space as a Representation of the Divine.” Journal of Personality and Social Psychology 93.5 (2007): 699-710. Print. ---. “When “Light” and “Dark” Thoughts Become Light and Dark Responses: Affect Biases Brightness Judgments.” Emotion 7.2 (2007): 366-376. Print. Meier, Brian P., and Michael D. Robinson. “Why the Sunny Side Is Up: Associations Between Affect and Vertical Position.” Psychological Science 15.4 (2004): 243-247. Print. ---. “Does “Feeling Down” Mean Seeing Down? Depressive Symptoms and Vertical Selective Attention.” Journal of Research in Personality 40.4 (2006): 451-461. Print. Meier, Brian P., Michael D. Robinson, and Gerald L. Clore. “Why Good Guys Wear White: Automatic Inferences About Stimulus Valence Based on Brightness.” Psychological Science 15.2 (2004): 82-87. Print. Mella, Nathalie, Laurence Conty, and Viviane Pouthas. “The Role of Physiological Arousal in Time Perception: Psychophysiological Evidence from an Emotion Regulation Paradigm.” Brain and Cognition 75.2 (2011): 182-87. Print. Menary, Richard. “Attacking the Bounds of Cognition.” Philosophical Psychology 19.3 (2006): 329344. Print. ---. Cognitive Integration: Mind and Cognition Unbounded. Basingstoke: Palgrave Macmillan, 2007. Print. ---. “Embodied Narratives.” Journal of Consciousness Studies 15.6 (2008): 63-84. Print. ---. “Cognitive Integration and the Extended Mind.” The Extended Mind. Ed. Richard Menary. Cambridge, MA: MIT Press, 2010. 227-244. Print. Merleau-Ponty, Maurice. Sense and Non-Sense. Evanston: Northwestern University Press, 1964. Print. ---. Phenomenology of Perception. Trans. Colin Smith. Delhi: Motilal Banarsidass, 1996 [1945]. Print. ---. Le Monde sensible et le Monde de l’expression. Ed. Emmanuel de Saint Aubert and Stefan Kristensen. Genève: MetisPresses, 2011. Print. Metz, Christian. Film Language: A Semiotics of the Cinema. Chicago, IL: University of Chicago Press, 1974. Print.


25/06/15 20:26

BIBLIOGRAPHY

---. The Imaginary Signifier. Psychoanalysis and the Cinema. Bloomington, IN: Indiana University Press, 1982. Print. ---. L’Énonciation impersonnelle ou le Site du film. Paris: Méridiens Klincksieck, 1991. Print. Meyer-Kalkus, Reinhart. “Work, Rhythm, Dance: Prerequisites for a Kinaesthetics of Media and Arts.” Embodiment in Cognition and Culture. Ed. John Krois, Mats Rosengreen, Angela Steidele, and Dirk Westerkamp. Philadelphia, PA: John Benjamins, 2007. 165-181. Print. Meyer, Kaspar, et al. “Predicting Visual Stimuli on the Basis of Activity in Auditory Cortices.” Nature Neuroscience 13.6 (2010): 667-668. Print. Meyer, Martin, Simon Baumann, and Lutz Jancke. “Electrical Brain Imaging Reveals Spatio-Temporal Dynamics of Timbre Perception in Humans.” NeuroImage 32.4 (2006): 1510-1023. Print. Miall, David S. “Affect and Narrative: A Model of Response to Stories.” Poetics 17.3 (1988): 259272. Print. ---. “Emotions and the Structuring of Narrative Responses.” Poetics Today 32.2 (2011): 323-348. Print. Michotte van den Berck, Albert. “La Participation émotionelle du spectateur à l’action représentée à l’écran. Essai d’une theorie.” Revue internationale de filmologie 13 (1953): 87-96. Print. ---. The Perception of Causality. New York, NY: Basic Books, 1963. Print. ---. “The Emotional Involvement of the Spectator in the Action Represented in a Film: Toward a Theory.” Michotte’s Experimental Phenomenology of Perception. Ed. Georges Thinès, Alan Costall, and George Butterworth. Hillsdale: Lawrence Erlbaum, 1991. 209-217. Print. Minsky, Marvin. “A Framework for Representing Knowledge.” The Psychology of Computer Vision. Ed. Patrick Winston. New York, NY: McGraw-Hill, 1975. 19-91. Print. Mitry, Jean. Esthétique et Psychologie du cinéma. Vol. 2. Paris: Editions Universitaires, 1965. Print. Mittell, Jason. “Narrative Complexity in Contemporary American Television.” The Velvet Light Trap 58.1 (2006): 29-40. Print. ---. “Film and Television Narrative.” The Cambridge Companion to Narrative. Ed. David Herman. Cambridge: Cambridge University Press, 2007. 156-171. Print. Moore, Kevin Ezra. “Spatial Experience and Temporal Metaphors in Wolof: Point of View, Conceptual Mapping, and Linguistic Practice.” Diss. University of California, Berkeley, 2000. Print. Münsterberg, Hugo. “Why We Go to the Movies, 1915.” Ed. Allan Langdale. Hugo Münsterberg on Film. The Photoplay: A Psychological Study and Other Writings. London: Routledge, 2002. 171–190. Print. Murata, Akira, et al. “Object Representation in the Ventral Premotor Cortex (Area F5) of the Monkey.” Journal of Neurophysiology 78.4 (1997): 2226-2230. Print. Murch, Walter. In the Blink of an Eye: A Perspective on Film Editing. Sydney: Australian Film, Television and Radio School, 1992. Print. ---. “Stretching Sound to Help the Mind See.” New York Times, 2000. Web. 21 February 2013. ---. “Dense Clarity – Clear Density.” The Transom Review 5.1 (2005). Web. 21 February 2013. Murray, Micah M., and Mark T. Wallace, eds. The Neural Bases of Multisensory Processes. Boca Raton: CRC Press, 2011. Print. Mustovic, Henrietta, et al. “Temporal Integration of Sequential Auditory Events: Silent Period in Sound Pattern Activates Human Planum Temporale.” NeuroImage 20.1 (2003): 429-434. Print.


25/06/15 20:26


Naccache, Lionel. Le Nouvel Inconscient. Paris: Editions Odile Jacob, 2006. Print. Nannicelli, Ted, and Paul Taberham, eds. Cognitive Media Theory. London: Routledge, 2014. Print. Narayanan, Srinivas. “Embodiment in Language Understanding: Sensory-Motor Representations for Metaphoric Reasoning about Event Descriptions.” Diss. Department of Computer Science, University of California, Berkeley, 1997. Print. Ndalianis, Angela. “The Frenzy of the Visible: Spectacle and Motion in the Era of the Digital.” Senses of Cinema 3 (2000): 2002-2007. Print. Neuhoff, John G. “An Adaptive Bias in the Perception of Looming Auditory Motion.” Ecological Psychology 13.2 (2001): 87-110. Print. Nishimoto, Shinji, et al. “Reconstructing Visual Experiences from Brain Activity Evoked by Natural Movies.” Current Biology 21.19 (2011): 1641-1646. Print. Noesselt, Toemme, et al. “Sound Increases the Saliency of Visual Events.” Brain Research 1220 (2008): 157-163. Print. Noulhiane, Marion, et al. “How Emotional Auditory Stimuli Modulate Time Perception.” Emotion 7.4 (2007): 697-704. Print. Núñez, Rafael. “Could the Future Taste Purple? Reclaiming Mind, Body and Cognition.” Journal of Consciousness Studies 6.11/12 (1999): 11-12. Print. Núñez, Rafael, Laurie D. Edwards, and João Filipe Matos. “Embodied Cognition as Grounding for Situatedness and Context in Mathematics Education.” Educational Studies in Mathematics 39.1-3 (1999): 45-65. Print. Núñez, Rafael, Vicente Neumann, and Manuel Mamani. “Los Mapeos Conceptuales de la Concepción del Tiempo en la Lengua Aymara del Norte de Chile [Conceptual Mappings in the Conceptualization of Time in Northern Chile’s Aymara].” Boletín de Educación de la Universidad Católica del Norte 28 (1997): 47–55. Print. Núñez, Rafael, and Eve Sweetser. “With the Future Behind Them: Convergent Evidence from Aymara Language and Gesture in the Crosslinguistic Comparison of Spatial Construals of Time.” Cognitive Science 30.3 (2006): 401-450. Print. Oakley, Justin. Morality and the Emotions. London: Routledge, 1992. Print. Oatley, Keith. “Communications to Self and Others: Emotional Experience and Its Skills.” Emotion Review 1.3 (2009): 206-213. Print. Oberman, Lindsay M., and Vilayanur S. Ramachandran. “The Simulating Social Mind: The Role of the Mirror Neuron System and Simulation in the Social and Communicative Deficits of Autism Spectrum Disorders.” Psychological Bulletin 133.2 (2007): 310-327. Print. Ocampo, Brenda, and Ada Kritikos. “Interpreting Actions: The Goal Behind Mirror Neuron Function.” Brain Research Reviews 67.1-2 (2011): 260-267. Print. Ortiz, María J. “Visual Rhetoric: Primary Metaphors and Symmetric Object Alignment.” Metaphor and Symbol 25.3 (2010): 162-180. Print. ---. “Primary Metaphors and Monomodal Visual Metaphors.” Journal of Pragmatics 43.6 (2011): 1568-1580. ---. “Visual Manifestations of Primary Metaphors Through Mise-en-scène Techniques.” Image [&] Narrative 15.1 (2014): 5-16. Web. Ortony, Andrew, ed. Metaphor and Thought. Cambridge: Cambridge University Press, 1993. Print. Overy, Katie, and Istvan Molnar-Szakacs. “Being Together in Time: Musical Experience and the Mirror Neuron System.” Music Perception: An Interdisciplinary Journal 26.5 (2009): 489-504. Print.


25/06/15 20:26

BIBLIOGRAPHY

Özçalişkan, Şeyda. «Metaphor Meets Typology: Ways of Moving Metaphorically in English and Turkish.» Cognitive Linguistics 16.1 (2005): 207-246. Print. Palmer, Gary. Towards a Theory of Cultural Linguistics. Austin, TX: University of Texas Press, 1996. Print. Panksepp, Jaak. “Affective Consciousness: Core Emotional Feelings in Animals and Humans.” Consciousness and Cognition 14.1 (2005): 30-80. Print. Pecher, Diane, Inge Boot, and Saskia Van Dantzig. “Abstract Concepts: Sensory-Motor Grounding, Metaphors, and Beyond.” Psychology of Learning and Motivation. Vol. 54. Ed. Brian Ross. Burlington: Academic Press, 2011. 217-248. Print. Peñalba Acitores, Alicia. “Towards a Theory of Proprioception as a Bodily Basis for Consciousness in Music.” Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Ed. David Clarke and Eric Clarke. Oxford: Oxford University Press, 2011. 215-230. Print. Pessoa, Luiz. The Cognitive-Emotional Brain: From Interactions to Integration. Cambridge, MA: MIT Press, 2013. Print. Petroni, Agustín, Federico Baguear, and Valeria Della-Maggiore. “Motor Resonance May Originate from Sensorimotor Experience.” Journal of Neurophysiology 104.4 (2010): 1867-1871. Print. Pfeifer, Jennifer H., et al. “Mirroring Others’ Emotions Relates to Empathy and Interpersonal Competence in Children.” NeuroImage 39.4 (2008): 2076-2085. Print. Pierson, Ryan. “Embodied Visions: Evolution, Emotion, Culture, and Film by Torben Grodal.” Critical Quarterly 52.2 (2010): 93-99. Print. Pisters, Patricia. The Neuro-Image: A Deleuzian Filmphilosophy of Digital Screen Culture. Stanford, CA: Stanford University Press, 2012. Print. Plantinga, Carl. “The Scene of Empathy and the Human Face on Film.” Passionate Views: Thinking About Film and Emotion. Ed. Carl Plantinga and Murray Smith. Baltimore-London: John Hopkins University Press, 1998. 239-255. Print. ---. ““I Followed the Rules, and They All Loved You More”: Moral Judgment and Attitudes toward Fictional Characters in Film.” Midwest Studies in Philosophy XXXIV (2010): 34-51. ---. “Art Moods and Human Moods in Narrative Cinema.” New Literary History 43.3 (2012): 455475. Print. Plantinga, Carl, and Greg M. Smith, eds. Passionate Views: Film, Cognition, and Emotion. Baltimore, MD: Johns Hopkins University Press, 1999. Print. Polti, Georges. The Thirty-Six Dramatic Situations. Boston: The Writer, 1988 [1906]. Print. Pourtois, Gilles, et al. “The Time-Course of Intermodal Binding between Seeing and Hearing Affective Information.” NeuroReport 11.6 (2000): 1329-1333. Print. Pratt, Carroll. The Meaning of Music. New York, NY: McGraw-Hill, 1931. Print. Preston, Stephanie D. and Frans B.M. de Waal. “Empathy: Its Ultimate and Proximate Bases.” Behavioral and Brain Sciences 25.1 (2002): 1-20. Print. Prinz, Wolfgang. “Modes of Linkage between Perception and Action.” Cognition and Motor Processes. Ed. Wolfgang Prinz and A.-F. Sanders. Berlin: Springer, 1984. 185-193. Print. ---. “A Common-Coding Approach to Perception and Action.” Relationships between Perception and Action: Current Approaches. Ed. Odmar Neumann and Wolfgang Prinz. Berlin: Springer, 1990. 167-201. Print. ---. “Perception and Action Planning.” European Journal of Cognitive Psychology 9 (1997): 129-154. Print.


25/06/15 20:26


---. “Experimental Approaches to Action.” Agency and Self-Awareness: Issues in Philosophy and Psychology. Ed. Johannes Roessler and Naomi Eilan. Oxford: Oxford University Press, 2003. 165-187. Print. Pryluck, Calvin. “The Film Metaphor Metaphor: The Use of Language-Based Models in Film Study.” Literature/Film Quarterly 3.2 (1975): 117-123. Print. Pulvermüller, Friedemann. “Brain Mechanisms Linking Language and Action.” Nature Reviews Neuroscience 6 (July 2005): 576-582. Print. Pylyshyn, Zenon. Computation and Cognition. Cambridge, MA: MIT Press, 1984. Print. Radford, Colin, and Michael Weston. “How Can We Be Moved by the Fate of Anna Karenina?” Proceedings of the Aristotelian Society, Supplementary Volume 49 (1975): 67-93. Print. Raij, Tommi, et al. “Human Auditory Cortex Is Activated by Omissions of Auditory Stimuli.” Brain Research 745.1-2 (1997): 134-143. Print. Ramaeker, Paul. “Notes on the split-field diopter.” Film History: An International Journal 19.2 (2007): 179-198. Print. Rapée, Ernö. Encyclopedia of Music for Pictures. New York: Belwin, 1925. Print. Raz, Gal, and Talma Hendler. “Forking Cinematic Paths to the Self.” Projections: The Journal for Movies and Mind 8.2 (2014): 89-114. Print. Reinerth, Maike S. “Intersubjective Subjectivity? Transdisciplinary Challenges in Analysing Cinematic Representations of Character Interiority.” Amsterdam International Electronic Journal for Cultural Narratology 6 (2010/2011). Web. Reisberg, Daniel, ed. Auditory Imagery. Hillsdale, N.J.: L. Erlbaum Associates, 1992. Print. Repp, Bruno H., and Amandine Penel. “Auditory Dominance in Temporal Processing: New Evidence from Synchronization with Simultaneous Visual and Auditory Sequences.” Journal of Experimental Psychology: Human Perception and Performance 28.5 (2002): 1085-1099. Print. Rizzolatti, Giacomo, and Michael A. Arbib. “Language within Our Grasp.” Trends in Neurosciences 21.5 (1998): 188-94. Print. Rizzolatti, Giacomo, and Laila Craighero. “The Mirror-Neuron System.” Annual Review of Neuroscience 27 (2004): 169-192. Print. Rizzolatti, Giacomo, and Maddalena Fabbri-Destro. “Mirror Neuron Mechanism.” Encyclopedia of Behavioral Neuroscience. Ed. George F. Koob, Michel Le Moal, and Richard F. Thompson. Oxford: Academic Press, 2010. 240-249. Print. Rizzolatti, Giacomo, Leonardo Fogassi, and Vittorio Gallese. “Neurophysiological Mechanisms Underlying the Understanding and Imitation of Action.” Nature Reviews Neuroscience 2.9 (2001): 661-670. Print. Rizzolatti, Giacomo, and Corrado Sinigaglia. Mirrors in the Brain. How Our Minds Share Actions, Emotions, and Experience. Oxford: Oxford University Press, 2007. Print. Rockwell, Teed. “Dynamic Empathy: A New Formulation for the Simulation Theory of Mind Reading.” Cognitive Systems Research 9.1-2 (2008): 52-63. Print. Rohdin, Mats. “Multimodal Metaphor in Classical Film Theory From the 1920s to the 1950s’.” Multimodal Metaphor. Ed. Charles Forceville and Eduardo Urios-Aparisi. Berlin: Mouton de Gruyter, 2009. 403-428. Print. Rothstein, Pia, et al. “Morphing Marilyn into Maggie Dissociates Physical and Identity Face Representations in the Brain.” Nature Neuroscience 8.1 (2005): 107-113. Print. Rumelhart, David. “Notes on a Schema for Stories.” Representation and Understanding: Studies in Cognitive Science. Ed. Daniel Gureasko Bobrow and Allan Collins. New York: Academic Press, 1975. 211-236. Print.


25/06/15 20:26

BIBLIOGRAPHY

Rupert, Rob. “Challenges to the Hypothesis of Extended Cognition.” Journal of Philosophy 101.8 (2004): 389-428. Print. Russell, James A. “Core Affect and the Psychological Construction of Emotion.” Psychological Review 110.1 (2003): 145-172. Print. ---. “Emotion in Human Consciousness Is Built on Core Affect.” Journal of Consciousness Studies 8.10 (2005): 26-42. Print. ---. “Emotion, Core Affect, and Psychological Construction.” Cognition & Emotion 23.7 (2009): 1259 - 1283. Print. Russell, James A., and Lisa Feldman Barrett. “Core Affect, Prototypical Emotional Episodes, and Other Things Called Emotion: Dissecting the Elephant.” Journal of Personality and Social Psychology 76 (1999): 805-819. Print. Russell, James A., and Ghyslaine Lemay. “Emotion Concepts.” Handbook of Emotions. Ed. Michael Lewis and Jeannette M. Haviland-Jones. 2nd ed. New York, NY: Guilford Press, 2004. 491-503. Print. Russolo, Luigi. L’Arte dei rumori: Manifesto futurista. Milan: Direzione del movemento futurista, 1913. Trans. Robert Filliou. New York: Something Else Press, 1967. Print. Rutherford, Anne. What Makes a Film Tick? Cinematic Affect, Materiality and Mimetic Innervation. Bern: Peter Lang, 2011. Print. Ryan, Marie-Laure. “Cognitive Maps and the Construction of Narrative Space.” Narrative Theory and the Cognitive Sciences. Ed. David Herman. CSLI Publications, 2003. 214-242. Print. ---. “Narrative Cartography: Toward a Visual Narratology.” What is Narratology? Ed. Tom Kindt and Hans-Harald Müller. Berlin: Walter de Gruyter, 2003. 333-364. Print. ---. “Narrative.” Routledge Encyclopedia of Narrative Theory. Ed. David Herman, Manfred Jahn, and Marie-Laure Ryan. London: Routledge, 2005. 344-348. Print. ---. “Diagramming Narrative.” Semiotica 165/1.4 (2007): 11-40. Print. Sachs, Curt. The Wellsprings of Music. Den Haag: Martinus Nijhoff, 1962. Print. Salt, Barry. Film Style & Technology. London: Starword, 1993. Print. Sarris, Andrew. Interviews with Film Directors. New York: Avon Books, 1967. Print. Saslaw, Jena. “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music.” Journal of Music Theory 40 (1996): 217-243. Print. Schank, Roger C., and Robert P. Abelson. Scripts, Plans, Goals, and Understanding: An Inquiry into Human Knowledge Structures. Hillsdale, NJ: Lawrence Erlbaum Associates, 1977. Print. Schapiro, Meyer. “Style.” Anthropology Today: an Encyclopedic Inventory. Ed. Alfred Louis Kroeber. Chicago, IL: University of Chicago Press, 1953. 287-312. Print. Scherer, Klaus. “What Does Facial Expression Express?” International Review of Studies on Emotion. Vol. 2. Ed. Kenneth T. Strongman. Chichester, England: Wiley, 1992. 1939-165. Print. Scherer, Klaus, and James Oshinsky. “Cue Utilization in Emotion Attribution from Auditory Stimuli.” Motivation and Emotion 1.4 (1977): 331-346. Print. Schilperoord, Joost, Alfons Maes, and Heleen Ferdinandusse. “Perceptual and Conceptual Visual Rhetoric: The Case of Symmetric Object Alignment.” Metaphor and Symbol 24.3 (2009): 155-173. Print. Schirmer, Annett. “How Emotions Change Time.” Frontiers in Integrative Neuroscience 5 (2011): 1-6. Print. Schmidt, Lisa. “A Popular Avant-Garde: The Paradoxical Tradition of Electronic and Atonal Sounds in Sci-Fi Music Scoring.” Sounds of the Future: Essays on Music in Science Fiction Films. Ed. Matthew Bartowiak. Jefferson, NC: McFarland, 2010. Print.


25/06/15 20:26


Schnall, Simone. “Are There Basic Metaphors?” The Power of Metaphor: Examining Its Influence on Social Life. Ed. Mark Jordan Landau, Michael D. Robinson, and Brian P. Meier. Washington, DC: American Psychological Association, 2014. 225-247. Print. Scott, Anne P. “Emotion, Moral Perception, and Nursing Practice.” Nursing Philosophy 1.2 (2000): 123-133. Print. Searle, John. Mind, Language and Society. New York, NY: Basic Books, 1999. Print. Seeger, Anthony. “The Meaning of Body Ornaments: A Suya Example.” Ethnology 14.3 (1975): 211-224. Print. Seligman, Stephen. “Anchoring Intersubjective Models in Recent Advances in Developmental Psychology, Cognitive Neuroscience and Parenting Studies: Introduction to Papers by Trevarthen, Gallese, and Ammaniti & Trentini.” Psychoanalytic Dialogues: The International Journal of Relational Perspectives 19.5 (2009): 503-506. Print. Sergi, Gianluca. “A Cry in the Dark: The Role of Post-Classical Film Sound.” Contemporary Hollywood Cinema. Ed. Stephen Neale and Murray Smith. London: Routledge, 1998. 156-165. Print. ---. “In Defense of Vulgarity: The Place of Sound Effects in the Cinema.” Scope: An Online Journal of Film Studies 5 (2006). Web. 25 August 2011. Sessions, Roger. The Musical Experiences of Composer, Performer, Listener. Princeton, NJ: Princeton University Press, 1950. Print. Sestir, Marc, and Melanie C. Green. “You Are Who You Watch: Identification and Transportation Effects on Temporary Self-Concept.” Social Influence 5.4 (2010): 272-288. Print. Shams, Ladan, Yukiyasu Kamitani, and Shinsuke Shimojo. “Modulations of Visual Perception by Sound.” Handbook of Multisensory Processes. Ed. Gemma Calvert, Charles Spence, and Barry E. Stein. Cambridge, MA: MIT Press, 2004. 27-33. Print. Shams, Ladan, and Robyn Kim. “Crossmodal Influences on Visual Perception.” Physics of Life Reviews 7.3 (2010): 269-284. Print. Shapiro, Lawrence. “The Embodied Cognition Research Programme.” Philosophy Compass 2.2 (2007): 338-346. Print. ---. Embodied Cognition. London: Routledge, 2011. Print. Shaviro, Steven. The Cinematic Body. Minneapolis, MN: University of Minnesota Press, 1993. Print. ---. “The Cinematic Body REDUX.” Parallax 14.1 (2008): 48-54. Print. Shaw, Spencer. Film Consciousness: From Phenomenology to Deleuze. Jefferson, NC: McFarland Publishing, 2008. Print. Sheets-Johnstone, Maxine. “Emotion and Movement. A Beginning Empirical-Phenomenological Analysis of Their Relationship.” Journal of Consciousness Studies 6.11-12 (1999): 259-277. Print. ---. The Primacy of Movement. Amsterdam: John Benjamins, 1999. Print. ---. “Thinking in Movement: Further Analyses and Validations.” Enaction: Towards a New Paradigm for Cognitive Science. Ed. John Stewart, Olivier Gapenne, and Ezequiel A. Di Paolo. Cambridge, MA: MIT Press, 2010. 165-182. Print. Sherman, Gary D., and Gerald L. Clore. “The Color of Sin: White and Black Are Perceptual Symbols of Moral Purity and Pollution.” Psychological Science 20.8 (2009): 1019-1025. Print. Sherrington, Charles. The Integration of the Neurons Systems. New Haven, CT: Yale University Press, 1906. Print.


25/06/15 20:26

BIBLIOGRAPHY

Shimamura, Arthur P. Experiencing Art: In the Brain of the Beholder. Oxford: Oxford University Press, 2013. Print. ---, ed. Psychocinematics: Exploring Cognition at the Movies. Oxford: Oxford University Press, 2013. Print. Shimamura, Arthur P., Diane E. Marian, and Andrew L. Haskins. “Neural Correlates of Emotional Regulation While Viewing Films.” Brain Imaging and Behavior 7.1 (2013): 77-84. Print. Shimojo, Shinsuke, and Ladan Shams. “Sensory Modalities Are Not Separate Modalities: Plasticity and Interactions.” Current Opinion in Neurobiology 11.4 (2001): 505-509. Print. Silverman, Kaja. “Dis-Embodying the Female Voice.” Re-Vision: Essays in Feminist Film Criticism. Ed. Mary Ann Doane, Patricia Mellencamp, and Linda Williams. American Film Institute Monograph Series. Frederick, MD: University Publications of America, 1984. 131-149. Print. ---. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Theories of Representation and Difference. Bloomington, IN: Indiana University Press, 1988. Print. Skerry, Philip J. Dark Energy. New York, NY: Bloomsbury, 2013. Print. Slingerland, Edward. What Science Offers the Humanities: Integrating Body and Culture. Cambridge: Cambridge University Press, 2008. Print. Slutsky, Daniel A., and Gregg H. Recanzone. “Temporal and Spatial Dependency of the Ventriloquism Effect.” Neuroreport 12.1 (2001): 7-10. Print. Smith, Greg M. “Local Emotions, Global Moods, and Film Structure.” Passionate Views: Film, Cognition, and Emotion. Ed. Carl R. Plantinga and Greg M. Smith. Baltimore, MD: Johns Hopkins University Press, 1999. 103-126. Print. ---. “The Mood-Cue Approach to Filmic Emotion.” Film Structure and the Emotion System. Ed. Greg M. Smith. Cambridge: Cambridge University Press, 2003. 41-64. Print. ---. Film Structure and the Emotion System. Cambridge: Cambridge University Press, 2003. Print. Smith, Murray. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Oxford University Press, 1995. Print. Smith, Tim J. “The Attentional Theory of Cinematic Continuity.” Projections: The Journal for Movies and Mind 6.1 (2012): 1-27. Print. ---. “Watching You Watch Movies: Using Eye Tracking to Inform Cognitive Film Theory.” Psychocinematics: Exploring Cognition at the Movies. Ed. Arthur P. Shimamura. Oxford: Oxford University Press, 2013. 165-191. Print. Smith, Tim J., Daniel Levin, and James E. Cutting. “A Window on Reality: Perceiving Edited Moving Images.” Current Directions in Psychological Science 21.2 (2012): 107-113. Print. Sobchack, Vivian. “Toward Inhabited Space: The Semiotic Structure of Camera Movement in the Cinema.” Semiotics 41.1/4 (1982): 317-335. Print. ---. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press, 1992. Print. ---. Carnal Thoughts: Embodiment and Moving Image Culture. Oakland, CA: University of California Press, 2004. Print. ---. “The Man Who Wasn’t There: The Production of Subjectivity in Delmer Daves’ Dark Passage.” Subjectivity: Filmic Representation and the Spectator’s Experience. Ed. Dominique Chateau. Amsterdam: Amsterdam University Press, 2011. 69-84. Print. Sperber, Dan, and Deirdre Wilson. Relevance: Communication and Cognition. Oxford: Blackwell, 1986. Print. Spolsky, Ellen. Word vs. Image: Cognitive Hunger in Shakespeare’s England. NewYork, NY: Palgrave Macmillan, 2007. Print.


25/06/15 20:26


Stadler, Jane. Pulling Focus: Intersubjective Experience, Narrative Film and Ethics. New York, NY: Continuum, 2008. Print. Stecker, Robert. “Moderate Actual Intentionalism Defended.” The Journal of Aesthetics and Art Criticism 64.4 (2006): 429-438. Print. Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2003. Print. Stetson, Chess, Matthew P. Fiesta, and David M. Eagleman. “Does Time Really Slow Down During a Frightening Event?” PLoS ONE 2.12 (2007): 1-3. Print. Strauven, Wanda, ed. The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 2006. Print. Sweetser, Eve. From Etymology to Pragmatics: Metaphorical and Cultural Aspects of Semantic Structure. Cambridge: Cambridge University Press, 1990. Print Taipale, Joona. Phenomenology and Embodiment: Husserl and the Constitution of Subjectivity (Studies in Phenomenology and Existential Philosophy). Evanston, IL: Northwestern University Press, 2014. Print. Tajadura-Jiménez, Ana. “Embodied Psychoacoustics: Spatial and Multisensory Determinants of Auditory-Induced Emotion.” Diss. Chalmers University of Technology, 2008. Print. Tajadura-Jiménez, Ana, et al. “Auditory-Somatosensory Multisensory Interactions Are Spatially Modulated by Stimulated Body Surface and Acoustic Spectra.” Neuropsychologia 47.1 (2009): 195-203. Print. ---. “Embodied Auditory Perception: The Emotional Impact of Approaching and Receding Sound Sources.” Emotion 10.2 (2010): 216-229. Print. ---. “When Room Size Matters: Acoustic Influences on Emotional Responses to Sounds.” Emotion 10.3 (2010): 416-422. Print. Tal-Or, Nurit, and Jonathan Cohen. “Understanding Audience Involvement: Conceptualizing and Manipulating Identification and Transportation.” Poetics 38.4 (2010): 402-418. Print. Tan, Ed S. Emotion and the Structure of Narrative Film: Film as an Emotion Machine. Mahwah: Lawrence Erlbaum, 1996. Print. ---. “Emotion, Art, and the Humanities.” Handbook of Emotions. Ed. Michael Lewis and Jeannette M. Haviland-Jones. 2nd ed. New York, NY: Guilford Press, 2004. 116-134. Print. ---. “Entertainment Is Emotion: The Functional Architecture of the Entertainment Experience.” Media Psychology 11.1 (2008): 28-51. Print. Teng, Norman Y. “Image Alignment in Multimodal Metaphor.” Multimodal Metaphor. Ed. Charles Forceville and Eduardo Urios-Aparisi. Berlin: Mouton de Gruyter, 2009. 197-211. Print. Teng, Norman Y., and Sewen Sun. “Grouping, Simile, and Oxymoron in Pictures: A Design-Based Cognitive Approach.” Metaphor and Symbol 17.4 (2002): 295-316. Print. Thanouli, Eleftheria. “Post-Classical Narration: A New Paradigm in Contemporary Cinema.” New Review of Film and Television Studies 4.3 (2006): 183-196. Print. Thom, Randy. “Designing a Movie for Sound.” Iris 27 (1999): 9-20. Print. ---. “Acoustics of the Soul.” Offscreen. 11.8-9 (2007). Web. 2 June 2008. ---. “On Sound Designing: Cast Away.” The Soundtrack 2.1 (2009): 19-21. Print. Thompson, Evan. “Sensorimotor Subjectivity and the Enactive Approach to Experience.” Phenomenology and the Cognitive Sciences 4.4 (2005): 407-427. Print. Thompson, Evan, and Mog Stapleton. “Making Sense of Sense-Making: Reflections on Enactive and Extended Mind Theories.” Topoi 28.1 (2009): 23-30. Print.


25/06/15 20:26

BIBLIOGRAPHY

Thompson, Kristin. “The Concept of Cinematic Excess.” Ciné-tracts 1.2 (1977): 54-63. Print. ---. Storytelling in the New Hollywood. Cambridge, MA: Harvard University Press, 1999. Print. Thompson, Willaim, Frank Russo, and Don Sinclair. “Effects of Underscoring on the Perception of Closure in Filmed Events.” Psychomusicology 13 (1994): 9-27. Print. Thrift, Nigel. “Intensities of Feeling: Towards a Spatial Politics of Affect.” Geografiska Annaler: Series B, Human Geography 86.1 (2004): 57-78. Print. ---. Non-Representational Theory: Space, Politics, Affect. International Library of Sociology. London: Routledge, 2008. Print. Thurlow, Willard R., and Charles E. Jack. “Certain Determinants of the ‘Ventriloquism Effect’.” Perceptual and Motor Skills 36.3c (1973): 1171-1184. Print. Tikka, Pia, et al. “Enactive Cinema Paves Way for Understanding Complex Real-Time Social Interaction in Neuroimaging Experiments.” Frontiers in Human Neuroscience 6 (2012). Web. Turner, Alasdair. “The Ingredients of an Exosomatic Cognitive Map: Isovists, Agents and Axial Lines?” Space Syntax and Spatial Cognition: Proceedings of the Workshop Held in Bremen, 24th September 2006. Ed. Christoph Hölscher, Ruth Conroy Dalton, and Alasdair Turner. Bremen, Germany: Universität Bremen, 2007. 163-180. Print. Turner, Mark, and Gilles Fauconnier. “Conceptual Integration and Formal Expression.” Metaphor & Symbolic Activity 10.3 (1995): 183-204. Print. Umiltà, Alessandra M., et al. “I Know What You Are Doing: A Neurophysiological Study.” Neuron 31 (2001): 155–165. Print. Ureña, Jose Manuel, and Pamela Faber. “Reviewing Imagery in Resemblance and Non-Resemblance Metaphors.” Cognitive Linguistics 21.1 (2010): 123-149. Print. ---. “The World Meets the Body: Sociocultural Aspects of Terminological Metaphor.” Proceedings of the Annual Meeting of the Berkeley Linguistics Society 37.1 (2013): 359-374. Print. Urios-Aparisi, Eduardo. “The Body of Love in Almodóvar’s Cinema: Metaphor and Metonymy of the Body and Body Parts.” Metaphor and Symbol 25.3 (2010): 181-203. Print. Väljamäe, Aleksander, and Ana Tajadura-Jiménez. “Perceptual Optimization of Audio-Visual Media: Moved by Sound.” Narration and Spectatorship in Moving Images. Ed. Joseph D. Anderson and Barbara Fisher Anderson. Newcastle, UK: Cambridge Scholars Publishing, 2007. 210221. Print. Van der Zwaag, Marjolein, Joyce Westerink, and Egon van den Broek. “Emotional and Psychophysiological Responses to Tempo, Mode, and Percussiveness.” Musicae Scientiae 15.2 (2011): 250-269. Print. Van Wassenhove, Virginie, et al. “Distortions of Subjective Time Perception within and across Senses.” PLoS ONE 3.1 (2008): e1437. Print. ---. “Psychological and Neural Mechanisms of Subjective Time Dilation.” Frontiers in Neuroscience 5.56 (2011): 1-10. Print. Van Wassenhove, Virginie, Ken W. Grant, and David Poeppel. “Temporal Window of Integration in Auditory-Visual Speech Perception.” Neuropsychologia 45.3 (2007): 598-607. Print. Varela, Francisco J. “Neurophenomenology: A Methodological Remedy For the Hard Problem.” Journal of Consciousness Studies 3.4 (1996): 330-349. Print. Varela, Francisco J., Eleanor Rosch, and Evan Thompson. The Embodied Mind: Cognitive Science and Human Experience. Cambridge, MA: MIT Press, 1991. Print. Vetlesen, Arne Johan. Perception, Empathy and Judgment: An Inquiry Into the Preconditions of Moral Judgment. Philadelphia, PA: University of Pennsylvania Press, 1994. Print.


25/06/15 20:26


Voisin, Julien, et al. “Listening in Silence Activates Auditory Areas: A Functional Magnetic Resonance Imaging Study.” The Journal of Neuroscience 26.1 (2006): 273-278. Print. Voss, Christiane. “Film Experience and the Formation of Illusion: The Spectator as ‘Surrogate Body’ for the Cinema.” Cinema Journal 50.4 (2011): 136-150. Print. Wallon, Henri. “L’Acte perceptif et le cinéma.” Revue internationale de filmologie 13 (1953): 97-110. Print. Walsh, Richard. “The Common Basis of Narrative and Music: Somatic, Social, and Affective Foundations.” StoryWorlds: A Journal of Narrative Studies 3 (2011): 49-71. Print. Walton, Kendall. “What is Abstract About the Art of Music?” The Journal of Aesthetics and Art Criticism 46.3 (1988): 351-364. Print. Ward, Mark. “Art in Noise: An Embodied Simulation Account of Cinematic Sound Design.” Paper presented to the Society for Cognitive Studies of the Moving Image, Universität der Künste Berlin, 12-15 June 2013. Wertheimer, Max. “Untersuchungen zur Lehre von der Gestalt. II.” Psychological Research 4.1 (1923): 301-350. Print. Whittock, Trevor. Metaphor and Film. Cambridge: Cambridge University Press, 1990. Print. Wiens, Stefan. “Interoception in Emotional Experience.” Current Opinion in Neurology 18.4 (2005): 442-447. Print. Wilson, Deirdre, and Dan Sperber. Meaning and Relevance. Cambridge: Cambridge University Press, 2012. Print. Wilson, George. “Transparency and Twist in Narrative Fiction Films.” Thinking Through Cinema. Film as Philosophy. Ed. Murray Smith and Thomas E. Wartenberg. Oxford: Blackwell, 2006. 81-95. Print. Wilson, Margaret. “Six Views of Embodied Cognition.” Psychonomic Bulletin & Review 9.4 (2002): 625-636. Print. Wimsatt, William Kurtz, and Monroe C. Beardsley. “The Intentional Fallacy.” The Sewanee Review 54.3 (1946). 468-488. Print. ---. “The Affective Fallacy.” Sewanee Review 57.1 (1949). 31-55. Print. ---. The Verbal Icon: Studies in the Meaning of Poetry. Lexington: University of Kentucky Press, 1954. Print. Winkielman, Piotr, Paula M. Niedenthal, and Lindsay M. Oberman. “Embodied Perspective on Emotion-Cognition Interactions.” Mirror Neuron Systems: The Role of Mirroring Processes in Social Cognition. Ed. Jaime A. Pineda. Contemporary Neuroscience. New York, NY: Humana Press, 2009. 235-257. Print. Winter, Bodo. “Horror Movies and the Cognitive Ecology of Primary Metaphors.” Metaphor and Symbol 29.3 (2014): 151-170. Print. Wittmann, Marc. “The Inner Sense of Time: How the Brain Creates a Representation of Duration.” Nature Review Neuroscience 14.3 (2013): 217-23. Print. Woelert, Peter. “Human Cognition, Space, and the Sedimentation of Meaning.” Phenomenology and the Cognitive Sciences 10.1 (2011): 113-137. Print. Wojciehowski, Hannah Chapelle, and Vittorio Gallese. “How Stories Make Us Feel: Toward an Embodied Narratology.” California Italian Studies Journal 2.1 (2011). Web. Wolf, Werner. “Metalepsis as a Transgeneric and Transmedial Phenomenon.” Narratology Beyond Literary Criticism. Ed. Jan Christoph Meister. Berlin: Walter De Gruyter, 2005. 83–107. Print. Wollheim, Richard. Painting as an Art. Princeton, NJ: Princeton University Press, 1987. Print.


25/06/15 20:26

BIBLIOGRAPHY

Wyatt, Justin. High Concept: Movies and Marketing in Hollywood. Austin, TX: University of Texas Press, 1994. Print. Yamada, Yuki, and Takahiro Kawabe. “Emotion Colors Time Perception Unconsciously.” Consciousness and Cognition 20.4 (2011): 1835-1841. Print. Yamanashi, Masa-aki. “Metaphorical Modes of Perception and Scanning.” Tropical Truth(s): The Epistemology of Metaphor and Other Tropes. Ed. Armin Burkhardt and Brigitte Nerlich. Berlin: Walter De Gruyter, 2010. 157-175. Print. Young, Kay. “That Fabric of Times: A Response to David Bordwell’s Film Futures.” SubStance 31.1 (2002): 115-118. Print. Yu, Ning. “Chinese Metaphors of Thinking.” Cognitive Linguistics 14.2/3 (2003): 141-165. Print. ---. “The Eyes For Sight and Mind.” Journal of Pragmatics 36.4 (2004): 663-686. Print. ---. “The Relationship between Metaphor, Body and Culture.” Body, Language and Mind: Sociocultural Situatedness. Vol. 2. Ed. Dirk Geeraerts, René Dirven, and John R. Taylor. Berlin: Mouton de Gruyter, 2008. 387-408. Print. Zajonc, Robert B. “On the Primacy of Affect.” American Psychologist 39.2 (1984): 117-123. Print. Zangwill, Nick. “Music, Metaphor, and Emotion.” The Journal of Aesthetics and Art Criticism 65.4 (2007): 391-400. Print. Zbikowski, Lawrence. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford: Oxford University Press, 2002. Print. Ziemke, Tom. “What’s That Thing Called Embodiment.” Proceedings of the 25th Annual meeting of the Cognitive Science Society. Mahwah, NJ: Lawrence Erlbaum, 2003. Print. Zlatev, Jordan. “Phenomenology and Cognitive Linguistics.” Handbook of Phenomenology and Cognitive Science. Ed. Shaun Gallagher and Daniel Schmicking. New York, NY: Springer, 2010. 415-446. Print.


25/06/15 20:26