The Empathic Screen
Cinema and Neuroscience
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24 381 Ft
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Product details:
- Publisher OUP Oxford
- Date of Publication 14 October 2019
- ISBN 9780198793533
- Binding Hardback
- No. of pages264 pages
- Size 240x161x19 mm
- Weight 610 g
- Language English 0
Categories
Short description:
Why do people go to the movies? What does it mean to watch a movie? To what extent is the perceived fictional nature of movies different from our daily perception of the real world? In this book, film theory and neuroscience meet to shed new light on cinema masterpieces, and explore the great directors from the classical period to the present.
MoreLong description:
Why do people go to the movies? What does it mean to watch a movie? To what extent is the perceived fictional nature of movies different from our daily perception of the real world?
We live in a time where the power of images has strongly invaded our everyday life, and we need new instruments and methods to better understand our relationship with the virtual worlds we inhabit every day. Taking cinema as the beginning of our relationship with the world of moving images, and cognitive neuroscience as a paradigm to understand how the images engage us, The Empathic Screen develops a new theory of film experience, exploring our brain-body interaction when engaging with and watching a film. In this book, film theory and neuroscience meet to shed new light on cinema masterpieces, such as The Shining, The Silence of the Lambs, and Toy Story, and explore the great directors from the classical period to the present.
Taking a radical new approach to understanding the cinema, the book will be fascinating reading for cognitive scientists, neuroscientists, psychologists, philosophers, and film and media scholars.
Gallese (a psychobiologist) and Guerra (a film theorist) use the apparatus of neuroscience to argue that movies "evoke" motor resonance in spectators. They support their argument by using the concepts of "mirror neurons" and "embodied simulation." The authors focus solely on camera movement, editing, and close-ups, ignoring montage sequences (e.g., the shower scene in Psycho) and sound (e.g., musical scores).
Table of Contents:
Embodied Simulation: A new model of perception
Stilted Movements and Improbable Stares
Camera Movements and Motor Cognition
Cut and Harmony
Face and Hands
New Mediation, New Films, New Experiments
Glossary
References
