Suchergebnisse
Suchergebnisse:
In this chapter I will be investigating Metz's cognitive film semiotics (his theory of impersonal filmic enunciation), outlining the concepts it is based upon – particularly reflexivity, but also metalanguage and anaphora – and contrasting it with Francesco Casetti's cognitive film semiotics, a deictic theory of enunciation based on ...
4. Juli 2017 · Only recently, the broad research program of embodied cognition has fuelled a substantial and ongoing body of research at the crossroads of cognitive science and film studies. Two influential ...
“The editors of Cognitive Theory and Documentary Film make ambitious claims about the usefulness of cognitive theory for understanding the documentary as well as the fiction film—and their volume more than delivers. Equipped with a fuller picture of the mind as embodied and socially networked, the authors here offer exciting approaches to a wide range of work including biographies ...
COGNITIVE is a new feature film written and directed by Evan Richards.Oregon Premiere Portland Festival of Cinema, Animation & TechnologyWinner of the Silver...
- 1 Min.
- 462
- NW3 Films
Originally trained in psychology, he quickly moved into film, media, and communications studies. He is widely known as a central figure in the ‘second wave’ of cognitive film studies, which focuses on the interplay between cognition and emotion. His 1994 book Emotion and the Structure of Narrative Film: Film as an Emotion Machine placed ...
7. Nov. 2022 · In his 1957 book, "A Theory of Cognitive Dissonance," Festinger explained, "Cognitive dissonance can be seen as an antecedent condition which leads to activity oriented toward dissonance reduction just as hunger leads toward activity oriented toward hunger-reduction. It is a very different motivation from what psychologists are used to dealing with but, as we shall see, nonetheless powerful."
Cognitive film scholars generally seek to understand, among other things, the ways in which perceptual and neural processing relate to spectators’ affective responses, to viewers’ comprehension of film narratives, and to the saliency of particular formal features of films. They also raise questions about how artistic strategies, such as ...
