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
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 4
25/06/15 20:24
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 5
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
PART I
43
Mikls Kiss
EMBODIED VISUAL MEANING IN FILM
63
81
Juan Chattah
PART II
115
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
187
Adriano DAloia
PART III
203
Mara J. Ortiz
EMBODIED CINEMATIC SUBJECTIVITY: METAPHORICAL AND
METONYMICAL MODES OF CHARACTER PERCEPTION IN FILM 221
245
271
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
What is the nature and function of sound design in cinematic media? Is it possible for the styling of sound to create meaning? Is there art in noise? This chapter departs from standard notions of cinematic sound by examining its meaning-making functions from the perspective of the embodied cognition research
programme within contemporary cognitive science.1 Using embodied simulation theory (Gallese Embodied Simulation), an hypothesis within the embodied cognition paradigm, and placing particular emphasis upon the affective
aspects of Feeling of Body (Wojciehowski and Gallese), an account of cinematic media emerges which puts into play Mark Johnsons concept of embodied
meaning (The Meaning). Central to Johnsons concept is the assertion that all
human meaning, abstract conceptual thinking and imagination have basis in our
sensory-motor interactions with the world (The Meaning 11-14). Johnson rejects
the notion that meaning is quarantined to the symbolic operations of language
noting [m]eaning traffics in patterns, images, qualities, feelings, and eventually
concepts and propositions (The Meaning 9). In the context of cinematic media,
an embodied cognition approach suggests the primary function of sound design
is to elicit affective imagery which, in turn, shapes cognition and consciousness.
The paradigm of embodied cognition represents a profound divergence
from mainstream theorising of cinema, and offers Film Studies unique opportunities for a broader and more flexible understanding of its object of study.2
Historically, Film Studies has tended to emphasise the visual whilst dwelling
upon the narrative, asking questions of cinema that may only be answered by
vision or narrative while eliding other equally crucial questions. An embodied
cognition approach offers a common denominator across all forms of cinematic media, narrative and non-narrative alike. An embodied cognition approach
also responds to another conspicuous lack in contemporary Film Studies. Of
155
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 155
25/06/15 20:26
M A R K S . WA R D
the Big Three in 19th century thought Marx, Freud, and Darwin it is
the legacy of Marx and Freud which continues to underpin debate within the
humanities while the consequences of Darwins ideas (On the Origins) remains
neglected.3 An embodied cognition approach redresses this lack by putting
Film Studies in contact with evolutionary and neurobiological theories of
emotion and cognition, and in doing so manifests an ecological metatheory
of the kind called for by Joseph and Barbara Fisher Anderson.
Within the field of Film Studies, sound design is under-represented and
under-theorised yet it is because of its marginalised status that sound offers an
unencumbered opportunity by which to investigate the underlying principles of
cinematic media. In particular, this chapter focuses not upon the usual targets
of speech and music in soundtrack discourse, but that mongrel form of sound
variously referred to as effects or noise. Noise is environmental sound, everyday
sound. Sound of this kind is the most under-theorised element of the soundtrack
which, in turn, is the most under-theorised element of the cinematic experience.
As a consequence, sound design offers extremely fertile space within which an
alternate theory of cinematic media may be modelled. Specifically, this chapter
argues for the primacy of affect4, driven by embodied processes, in the functional
architecture and meaning-making capacities of cinematic media in general and
sound design in particular. These claims are distilled from professional praxis5,
and find substantiation through contemporary theories in cognitive science.
Any discussion of cinematic media and embodied cognition is almost immediately bedevilled by the interwoven nature of moving imagery, perception,
emotion, and cognition. How may such relationships be grasped when theories of embodied cognition have a tendency to blur traditional boundaries?
To capture such complexity, this chapter, marshalled into four sections, is organised in a similarly interwoven way. The first section focuses upon the tacit
knowledge which underpins the design of sound, and makes claims about the
multimodal and affective primacy of cinematic media. These professional intuitions may appear counter-intuitive, if not contentious, and so insights from
the perceptual sciences are recruited to substantiate them. I also introduce
two terms, perceptual design and proto-narrative, to assist in describing the
mediated activation of nonconscious affective processes. In the second section,
Vittorio Galleses theory of embodied simulation (Embodied Simulation)
is used as a unifying theoretical framework for mediated experience. Within
this framework three theories for the induction and structuring of affective
content are nested: i) the BRECVEMA framework developed by Patrik Juslin
156
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 156
25/06/15 20:26
ART IN NOISE
(From Everyday), and Patrik Juslin, Daniel Vstfjll and colleagues; ii) the
mood-cue approach developed by Greg M. Smith; and iii) emotional communication theory proposed by Anne Bartsch and Susanne Hbner. An embodied
simulation framework provides smooth scaffolding of these three models from
the fine-grain level of subpersonal processes to the macro level of the sociocultural in the production of a coherent and cohesive affective experience.
This coherence and cohesion I equate with what Wojciehowski and Gallese
call Feeling of Body which they explain as enabling a more direct and less
cognitively-mediated access to the world of others (7). Feeling of Body, in the
context of cinema, recruits our bodys innate capacity for feeling into anothers
affective state, and offers an embodied and noncognitive route to empathy. In
the third section, an embodied cognition approach is used to illustrate how
affective content is generated and structured by briefly examining some of
my own sound design strategies used in Jane Campions In the Cut (2003). To
conclude, the fourth section summarises the central features of an embodied
cognition approach to cinematic sound design, and identifies future research
goals in exploring its relationship to narrative and consciousness.
1. T
HE MULTIMODAL AND AFFECTIVE PRIMACY OF CINEMATIC
MEDIA
25/06/15 20:26
M A R K S . WA R D
and high dynamic range possess meaning that low fidelity monaural does not?
Why does Richard King, sound designer of Inception (Christopher Nolan
2010), call the movies subsonic frequencies the subtext sound (Coleman, at
2min:35sec)? Why does Neos voice disintegrate into stepped granularity at the
point of his first passing from the world of the Matrix into the Real World (The
Matrix the Wachowskis 1999)? Why is there an insistent mismatch between
point-of-audition and point-of-view in Paul Thomas Andersons Punch-Drunk
Love (2002)? And: how did I, in conjunction with my colleagues8, construct
the character of Frannie Avery and communicate her emotional state through
the design of everyday sounds whilst soundtracking In the Cut?
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
terms, to an audiences engaged attention. Energy is just another way of describing an audiences affective engagement with the unfolding of events.
As fantastical as these professional intuitions might seem, evidence is accumulating within the cognitive sciences to support the claim of cinemas intrinsic affective multimodality.
25/06/15 20:26
ART IN NOISE
of a visual scene with expected sounds omitted activates the neural circuitry for
auditory processing, leading the authors to conclude that [o]mission responses show that a template is formed in sensory cortex of expected events (142).
Possibly, it is the violation of rules governing such templates which triggers
auditory search when confronted by silent moving visual imagery (Kraemer et
al.; Mustovic et al.).
While the dominance of vision over audition is a well-known phenomenon13, accruing evidence suggests audition also wields the capacity to shape
visual perception. Shams, Kamitani and Shimojo, for example, note multiple
ways audition alters vision, particularly in the temporal domain, and Shams
and Kim expand this review to include the interaction of proprioceptive and
tactile modalities.14
Taken together, these findings strongly indicate a cinema of the purely
unimodal visual kind is an impossibility: human beings hear silent moving pictures. Conversely, as the BRECVEMA framework (Juslin From Everyday 242)
reveals, audition exerts a counter-effect to induce visual imagery. Our senses, it
seems, rarely work in isolation, suggesting our perceptual system seeks verification of the reality-status of an event through crossmodal confirmation15, and so
promotes the view that human beings are profoundly multimodal creatures.
In summary, a central tenet of Film Studies is the primacy of vision, a consequence of which is an unchallenged ocularcentrism. However, the conception of
a purely unimodal visual cinema cannot stand in the face of empirical evidence
which reveals the radical extent to which the human senses are interconnected.
As neurobiologists Shinsuke Shimojo and Ladan Shams remark sensory modalities are not separate modalities (505), and this should dissuade us from
speaking of cinema as a visual medium. Knowledge of such deep and interpenetrating crossmodal effects must inform an account of cinematic media with ocularcentrism abandoned in favour of a more comprehensive and heterogeneous
approach. Embodied cognition provides such an approach.
25/06/15 20:26
M A R K S . WA R D
25/06/15 20:26
ART IN NOISE
A general consequence of digital technology for sound design through increased density of auditory cuing, and the capacity to generate soundfields with
exceptionally wide frequency response and dynamic range is the production of
auditory imagery with higher definition and presence. However, the most unusual
aspect of contemporary cinematic sound is its heightened manipulation of timbre.
In some ways, the contemporary focus upon timbre may be considered to parallel
the Futurist call-to-arms made by Luigi Russolo to abandon the restricted sound
palette of 19th century musical instrumentation and embrace the modern world
through an art of noises (6). The contemporary DAW, as a device for generating
and assembling noise, is example par excellence of Russolos intonarumori. Such a
shift in contemporary sound design toward a heightened manipulation of timbre suggests something significant is at play.19 Timbre characterises not only sonic
identity, but the pre-attentive categorisation of timbre is associated with emotional
imagery and expression (Goydke et al.; Meyer, Baumann and Jancke).
The praxis of sound design, from an historical perspective, exhibits a tendency toward techniques and technologies with greater and greater immersive
characteristics in the production of an aesthetic experience. This design impulse
toward immersion is traceable through the practitioners of sound effects in silent
cinema and radio such as Ora Nichols (Orson Welles), through Murray Spivack
(Merian C. Cooper and Ernest B. Schoedsack), to Walter Murch (Francis Ford
Coppola) and Randy Thom (Robert Zemeckis). These techniques the design
of effects, atmospheres, Foley and ADR are now routinely and profusely used
and expanded upon by a subsequent generation of sound designers, such as Ren
Klyce (David Fincher Se7en 1995; David Fincher The Social Network 2010),
Richard King (Christopher Nolan), Karen Baker Landers (Ridley Scott; Sam
Mendes) and Skip Lievsay (Alfonso Cuarn), to name only a few. Similarly, the
impulse toward immersion is also traceable through successive generations of
sound technologies, from optical to magnetic to digital. Sound design that was
once crushingly limited to the bandwidth of a single monaural channel may now
be presented as stereo, 5.1 or some other surround sound format.20
The aesthetic impulse toward immersion requires explanation. Useful in
this regard is Ed Tans (Emotion, Entertainment) understanding of the
function of art and entertainment to be the production of an episode of emotions in response to an ongoing guided imagination (Entertainment 28).
Following Tan, I propose the primary concern of cinematic sound to be the
production and structuring of affective content.21 In short, sound design is,
first and foremost, a form of emotion design. Each set of decisions which goes
163
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 163
25/06/15 20:26
M A R K S . WA R D
into the crafting of a sonic element is focused upon the task of designing affect
at both the sensory and narrative levels.
Affective content may be achieved through two immersive impulses: what
I call perceptual design and narrative design. For the purposes of this chapter, I
shall concentrate upon the function of perceptual design and its relationship to
Wojciehowski and Galleses concept of Feeling of Body, firstly, because much
critical analysis has already been focussed upon narrative at the expense of the
perceptual and, secondly, recognising Wojciehowski and Galleses claim that
Feeling of Body provides the embodied basis for narrative (7-8), it is possible
that understanding perceptual design may be the more essential.22
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
as a cinematic interface between perceptual design and narrative design because it transduces sensory-motor patterns into abstract concepts as a function
of liberated embodied simulation (Wojciehowski and Gallese 2). From this
perspective, perceptual design is a strategy which manipulates what Lawrence
Barsalou calls perceptual symbols (Perceptual) and what Gallese and Lakoff
call cogs, both of which theorise the re-use of neural resources of the sensory-motor system in the production of abstract conceptual knowledge.24 In addition, Charland has proposed the necessity for expanding Barsalous account
of perceptual symbols to include the dimension of affect because emotion can
be argued to form a distinct symbol processing system of its own (613). In an
embodied cognition account of sound design, the core affect and mood generated by perceptual design acts to form a discrete structure I call proto-narrative.
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
168
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 168
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
25/06/15 20:26
ART IN NOISE
i.
ii.
iii.
iv.
Brainstemreflex
Rhythmicentrainment
Evaluativeconditioning
Contagion (emotional contagion)
173
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 173
25/06/15 20:26
M A R K S . WA R D
v.
vi.
vii.
viii.
Visualimagery
Episodicmemory
Musicalexpectancy
Aesthetic judgement
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
tions. As Smith insists the primary emotive effect of film is to create mood
(Film Structure 42). The approach describes how cinematic media affords an
affective ecology: mood increases the likelihood of experiencing an emotion
proper which further sustains mood. The experience of such affective content
performs a sense-making function because it forges a meaningful relationship
between the audience and the objects and actions in the cinematic environment. Smith argues mood induction may be brought about by large-scale and
redundant emotional cuing delivered via multiple channels of audiovisual
design. Cinematography, visual effects, picture montage, production design,
costume and make-up, music score, and sound design are just some of the
audiovisual design channels through which affective content may be created
(Film Structure 42).
Although Smith does not reference James A. Russells concept of core affect (Russell; Russell and Barrett), core affect does appear to be at work in the
mood-cue approach. Because core affect is a pre-conceptual process (Russell
Psychological Construction 1264) it may be experienced as free-floating
(mood) or can be attributed to some cause (and thereby begin an emotional
episode) (Russell Core Affect 145). The free-floating nature of core affect
has special significance for cinematic media because core affect responds to
virtual reality in art, imagination, fantasy, and entertainment (Russell Psychological Construction 1266).30
Smiths mood-cue approach stands in contrast to other cognitivist accounts of filmic emotion such as the cognitive philosophical stance taken by
Nol Carroll (Mystifying Movies), and the cognitive psychological proposed by
Ed Tan (Emotion) and Torben Grodal (Moving Pictures). Whereas these other
major cognitive film theories focus upon the role of emotion within narrative
cinema the mood-cue approach is equally applicable to narrative and non-narrative because it explains the function of media emotion not in terms of character and narrative but in terms of style and audiovisual design. Indeed, the
mood-cue approach suggests a way cinema-of-attractions and post-classical
cinema, with their foregrounding of perceptual design over narrative design,
may be effectively theorised. As Smith claims an important advantage of the
mood-cue approach over Carrolls is that it can provide explanations of filmic
emotion without relying solely on character-oriented cues (Film Structure 70).
The mood-cue approach takes the sensory induction of affect, particularised in the BRECVEMA framework, and implements it in the context of
cinematic imagery. Like the BRECVEMA mechanism of the brain stem reflex,
176
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 176
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
iv. Below Ground a zone which blends fear, desire, fantasy, and sexuality. It is a morally ambiguous space. This is the level of the Red Turtles basement and the subway. In this zone, acoustic and psychological
space seems to distort, and the differentiation between inside and outside blurs. What is psychologically interior and physically exterior is
unclear or unformed.
Each of the above are demarcations of both physical and emotional space
shaped by a specific sonic signature and mood. Such vertical spatial schema
also act as symbolic organisation. However, while vertical organisation of space
is dominant and palpable, a horizontal spatial schema also operates.
180
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 180
25/06/15 20:26
ART IN NOISE
25/06/15 20:26
M A R K S . WA R D
agery can be said to reverse-engineer the relationship between affect and its
driving of subjective time. Because emotions and feeling states of the body
are [strongly intertwined] with the processing of duration (Wittmann 222) a
feeling-state may be inducted within the body of the audience by not only manipulating affective acoustic qualities (e.g. via BRECVEMA mechanisms) but
also through cinematic imagery which displays distortions of subjective time
(e.g. slow-motion, speed-ramping, jump cuts, etc.). In these ways, cinematic
time dilation may simulate the perceptual consequences of nonconsciously
processed affect, leading the audience to feel something is not right about a
situation in the absence of being consciously aware of causation.
My use of the term cognitive overflow is adapted from Ned Blocks concept
which proposes the capacity of phenomenal consciousness exceeds that of
cognitive access (Block Perceptual 567), and thus is not wholly available
to the narrative self. Cognitive overflow, as I use it here, refers to the interplay
between highly affectively charged perceptual information and the inability of
conscious thought to apprehend and contain it within a narrative structure. If
I am correct in extrapolating from Block, phenomenal consciousness contains
information which is in excess of the capacity of the narrative self to render it,
and this bears a striking similarity to Kristin Thompsons concept of cinematic
excess as well as Tom Gunnings insistence that cinematic attractions are not
extinguished by narrative (4).
182
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 182
25/06/15 20:26
ART IN NOISE
The global effect of In the Cuts sound design is to construct Frannie Avery
as a character who lives in a state-of-siege. Frannie walks around a post-9/11
New York, padded and cocooned. Within the movies soundscape there is no
mid-ground, only a close and intimate foreground or a non-threatening background. Because the sonic middle-space is missing, Frannies personal zone is
vulnerable to being unexpectedly punctured, triggering alarm. An effect of this
sonic dampening is the creation of an aural version of the post-trauma thousand-yard stare suffered by combat soldiers. In the case of In the Cut, however,
such militaristic connotations of trauma are cross-mapped as gender politics.
Unfortunately, the limitations of this chapter do not permit a full analysis
at the rhythmic and timbral level, nor at the micro-temporal level where emotional beats provide anchor points in the affective landscape.37 However, it is
significant to note that the spatial, emotional and psychological bubble within
which Frannie lives is densely mediated by words and language. Words function not only as a shield from the sensory, emotional and social, but also as a
heavily guarded conduit to it. Frannie uses language like a door in the control
of space and limitation risk.
The Theory of Mind and folk-psychology by which we come to understand
Frannie Averys character, motivation and desires emerge from the Feeling of
Body and proto-narrative generated by the perceptual design of multimodal
cinematic cues. This type of affective induction of Feeling of Body is a fundamental cinematic technique, and may manifest in weak or strong form. To
illustrate further, a similar design strategy may be found in Paul Thomas Andersons Punch-Drunk Love where an insistent mismatch between point-of-audition and point-of-view is mapped onto the central character of Barry so that
he comes to be understood as deeply afflicted by anxiety and an overwhelming
social paralysis.
4. E
MBODIED COGNITION AND ITS IMPLICATIONS FOR
CINEMATIC MEDIA
This chapter is borne from a professional intuition that the core function of
cinematic sound is to generate meaning through the affective experience of
sensory-motor cues, and this intuition extends to cinematic media generally.
Film Studies, however, has conventionally focussed upon vision and narrative as the engine for meaning-making, and this determining ocularcentrism
and narrativism has granted comparatively little significance to the design
of sound. Embodied cognition provides an innovative way to explore these
183
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 183
25/06/15 20:26
M A R K S . WA R D
25/06/15 20:26
ART IN NOISE
provides insight into how cinematic aural and visual imagery stylistically generates an ecology of affective meaning independently of narrative but is vital
to its emergence, and how emotional communication theory (Bartsch and
Hbner) provides a framework to integrate neuroscientific, psychological and
social constructivist theories of emotion in the recognition that a central function of communication is the mutual sharing and influencing of emotions.
Taken together, an embodied simulation approach provides a comprehensive
architecture for cinematic sound in the induction and structuring of affective
content by scaffolding the BRECVEMA framework, the mood-cue approach,
and emotional communication theory.
This chapter also illustrated an embodied aesthetics of cinematic sound by
examining some of the sound design strategies used in Jane Campions In the
Cut. In the context of a narrative movie, these strategies assist an audience in
coming to know a fictional character by simulating a Feeling of Body which
then affords the extrapolation of a Theory of Mind. In this way, sound design
creates embodied meaning through perceptual and narrative immersion.
Embodied cognition offers Film Studies novel and comprehensive ways to
explain its object of study, even as it must be acknowledged to be a youthful
research paradigm. As an account of cinematic sound, embodied simulation
theory powerfully describes how acoustic style generates affect and meaning.
However, while it may be legitimate from an evolutionary perspective, the
BRECVEMA framework I have drawn upon requires further research to explain the full array of meanings generated by everyday, ecological sound. For
example, an avenue of great interest for future research is the function of the
hard-wired reflexes of the brainstem and thalamus in audition. Another avenue is the functional relationship between cinematic proto-narrative which
I equate with Blocks concept of phenomenal consciousness and Damasios concept of core consciousness and the unconscious thought theory developed by
Dijksterhuis and Nordgren, and Bargh. Similarly, cinematic proto-narrative
may act as a useful probe by which to explore Baumeister and Masicampos
concept of consciousness as an animal-culture interface.38
In conclusion, cinematic perceptual design, which is to say those practices
which produce style, directly manipulates nonconscious affective processes in
the creation of embodied meaning and the emergence of conscious thought.
Emotions configure our cognitive systems in fundamental ways and function
to unify our consciousness (Oatley). The context of cinema recruits our bodys
innate capacity for feeling into anothers affective state, offering an embodied
185
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 185
25/06/15 20:26
M A R K S . WA R D
186
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 186
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-Antuano 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 brains hardware. Still, the theorys claims about psychological processes, stemming from cognitive psychologys empirical
investigations, certainly outdo armchair speculations.
2 B
eing consistent with Johnsons guideline (The Body 23), I use the terms schema, embodied
schema, image schema, and kinesthetic image schema interchangeably.
309
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 309
25/06/15 20:26
310
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 310
25/06/15 20:26
NOTES
311
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 311
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 bodys 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 herringtons 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 Pealba 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
Harrisons 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:
312
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 312
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 Vstfjll 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 composers 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 films
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).
313
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 313
25/06/15 20:26
33 Th
e notion of homorhythmic denotes a single rhythm for all melodic lines.
34 Thomas Newmans musical language brings to mind Aaron Coplands open voicings featuring a profusion of fourths, fifths, and ninths. Although the A Dorian scale is most prominent, Newmans 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 1950s. 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 Gibsons 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 Galleses notion of Mirror Neuron System, Pulvermller 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-
314
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 314
25/06/15 20:26
NOTES
tion and further speculate the amount of percussiveness in music indicates the power of
the musics 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
films 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 musics 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., Ern
Rapes 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 musics connotations and a films 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 authors 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. Eliots 1921 essay Tradition and the Individual Talent and articulated most fully in
Wimsatt and Beardsleys 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 Platos 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 doesnt 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.
315
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 315
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 noteven though we do not see Dorothys
house land on the Witch of the East, it is a diegetic element of the films 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 films 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 Mittells description, diegesis occurs within the storyworld, while the non-diegetic elements of narrative remain outside of it, yet still help tell the story.
12 Carrolls 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 dtre 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 Beardsleys companion essay The
Intentional Fallacy.
20 For a summary of some of these experiments, see Chapters 1 and 2 of Dehaenes 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 individuals conscious awareness.
21 Interestingly, Donalds 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).
316
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 316
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 viewers body see Voss.
6 I think of two American books like The Photoplay (1916) by Hugo Mnsterberg 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-Pontys ideas on cinema,
see the 2011 edition of Merleau-Pontys 1953Cours au Collge de France Le Monde sensible
et le Monde de lexpression.
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 DAloia (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 Grzes et al.
18 On film metaphors and camera movements see also Cognarts 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
317
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 317
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 Langkjr are notable exceptions to this trend.
isted here are some of In the Cuts 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 movies 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 boys 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).
318
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 318
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 Andersons 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 soundtracks 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 Neos voice similarly disintegrates at the point of his first passing
from the Matrix into the Real World. In this instance, the disintegration of Neos voice is
synonymous with the disintegration of his virtual self.
19 Parallel with the increasing significance of timbre in cinematic sound is Rebecca Leydons
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
319
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 319
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 Barsalous 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 Hogans 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-Jimnez, Tajadura-Jimnez et al., Vljame and Tajadura-Jimnez, responds in part to this lack.
30 See Russells 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 Hbners observations echo Mark Johnsons 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 locales 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.
320
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 320
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 Ive 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 souffl
and thrown into your face, burning hot and scalding, It had a profound impact on me and
I havent 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 directors 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
characters 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.
321
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 321
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 Cognarts 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 Cognarts 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 Cognarts and Kravanja Towards 8-9).
N THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA:
O
PERCEIVING TIME THROUGH THE CHARACTERS 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 Deborahs POV, but an objective shot of Deborahs 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 (Cognarts 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 perceivers sight can be expressed metaphorically by camera movement in which the camera
brings the perceivers point of view in direct contact with the perceived object (i.e., the time).
alsettos 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 Nol 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 Cognarts and Kravanja (On the Embodiment).
8 For this reason one might argue that the third case is closely related to Gradys notion of resem-
322
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 322
25/06/15 20:26
NOTES
323
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 323
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).
324
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 324
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: Hollywoods
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 Nol 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 Today2.2 (1981): 41-59. Print.
Balzs, Bla. Bla Balzs. Early Film Theory: Visible Man and The Spirit of Film. Ed. Erica Carter.
New York: Berghahn Books, 2010. Print.
Blint, 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.
325
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 325
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.
Ren Dirven and Ralf Prings. 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 Hbner. 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.
326
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 326
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 cinma. 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 Musseler. 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 15OH2O 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. Cin-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.
327
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 327
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 Bordwells 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 Hjbjerg and Peter Schepelern. Copenhagen: Museum Tusculanum Press, 2003.
59-86. Print.
---. Projecting a Camera: Language Games in Film Theory. London: Routledge, 2006. Print.
Brten, 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.
Bcher, 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-Antuano. 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.
328
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 328
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, Nol. 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. Nol 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 OBrien. 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 Spectators 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.
329
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 329
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 Mller. 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.
Cognarts, 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
Fords 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.
330
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 330
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.
331
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 331
25/06/15 20:26
DAloia, 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. LEsperienza filmica fra estetica e neuroscienze cognitive. Roma: Ente dello
Spettacolo, 2013. Print.
DAloia, Adriano, and Ruggero Eugeni, eds. Neurofilmology. Audiovisual Studies and the Challenge of Neuroscience. Special issue of Cinma & Cie. International Film Studies Journal 2223 (2015). Print.
DAusilio, 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.
---. Cinma, esprit et motion: 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.
332
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 332
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. Martins 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), 221247. Print.
Elsaesser, Thomas, and Warren Buckland. Studying Contemporary American Film. London: Arnold,
2002. Print.
333
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 333
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 Minds 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 Minds 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.
334
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 334
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 Agns Vardas 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 Psychologists 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: AnIntroduction to Philosophy of
Mind and Cognitive Science.London: Routledge, 2007. Print.
335
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 335
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): 171180. 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. Cinma & 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 Brains Concepts: The Role of the Sensory-Motor System in Conceptual Knowledge. Cognitive Neuropsychology 22.3/4 (2005): 455479. 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, Grard. 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.
336
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 336
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, Ren Dirven,
and F. Ruiz de Mendoza Ibaez. 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): 335370. 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.
337
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 337
25/06/15 20:26
Greimas, Algirdas Julien. Smantique structurale: Recherche de mthode. Paris: Larousse, 1966. Print.
Grzes, 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. Saarbrcken, 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 Dont: 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.
338
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 338
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.
Hjberg, 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, Jrn, 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 Ones 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-Antuano, 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.
339
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 339
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 Gendlins 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 Listeners 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 Vstfjll. Emotional Responses to Music: The Need to Consider
Underlying Mechanisms. Behavioral and Brain Sciences 31 (2008): 559-575. Print.
Kappelhoff, Herman, and Cornelia Mller. Embodied Meaning Construction: Multimodal Metaphor and Expressive Movement in Speech, Gesture, and Feature Film. Metaphor and the
Social World 1.2 (2011): 121153. 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.
340
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 340
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, Ren
Dirven, and John R. Taylor. Berlin: Mouton de Gruyter, 2008. 77-108. Print.
Kiss, Mikls. Narrative Metalepsis as Diegetic Concept in Christopher Nolans 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.
Kovcs, Andrs Blint. Screening Modernism. European Art Cinema, 1950-1980. Chicago: The University of Chicago Press, 2007. Print.
Kvecses, Zoltn. 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 MetaphorMetonymy 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.
341
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 341
25/06/15 20:26
342
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 342
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. sthetik. Psychologie des Schnen und der Kunst, I: Grundlegung der sthetik.
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.
343
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 343
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 cinematographique. Paris: Les Editions du CERF, 1955. Print.
Martinet, Andr. 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. Whats 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 lexpression. Ed. Emmanuel de Saint Aubert and Stefan Kristensen. Genve: MetisPresses, 2011. Print.
Metz, Christian. Film Language: A Semiotics of the Cinema. Chicago, IL: University of Chicago
Press, 1974. Print.
344
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 344
25/06/15 20:26
BIBLIOGRAPHY
---. The Imaginary Signifier. Psychoanalysis and the Cinema. Bloomington, IN: Indiana University
Press, 1982. Print.
---. Lnonciation impersonnelle ou le Site du film. Paris: Mridiens 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 motionelle du spectateur laction reprsente
lcran. Essai dune 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. Michottes Experimental Phenomenology of Perception. Ed. Georges Thins, 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. Esthtique et Psychologie du cinma. 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.
Mnsterberg, Hugo. Why We Go to the Movies, 1915. Ed. Allan Langdale. Hugo Mnsterberg
on Film. The Photoplay: A Psychological Study and Other Writings. London: Routledge, 2002.
171190. 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.
345
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 345
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.
Nez, Rafael. Could the Future Taste Purple? Reclaiming Mind, Body and Cognition. Journal
of Consciousness Studies 6.11/12 (1999): 11-12. Print.
Nez, Rafael, Laurie D. Edwards, and Joo Filipe Matos. Embodied Cognition as Grounding
for Situatedness and Context in Mathematics Education. Educational Studies in Mathematics
39.1-3 (1999): 45-65. Print.
Nez, Rafael, Vicente Neumann, and Manuel Mamani. Los Mapeos Conceptuales de la Concepcin del Tiempo en la Lengua Aymara del Norte de Chile [Conceptual Mappings in the
Conceptualization of Time in Northern Chiles Aymara]. Boletn de Educacin de la Universidad Catlica del Norte 28 (1997): 4755. Print.
Nez, 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, Mara 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-scne 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.
346
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 346
25/06/15 20:26
BIBLIOGRAPHY
zalikan, eyda. 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.
Pealba 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, Agustn, 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.
347
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 347
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.
Pulvermller, 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.
Rape, Ern. 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.
348
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 348
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. LArte 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 Mller. 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.
349
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 349
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.
350
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 350
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. Semiotics41.1/4 (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 Wasnt There: The Production of Subjectivity in Delmer Daves Dark Passage.
Subjectivity: Filmic Representation and the Spectators 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 Shakespeares England. NewYork, NY: Palgrave
Macmillan, 2007. Print.
351
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 351
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-Jimnez, Ana. Embodied Psychoacoustics: Spatial and Multisensory Determinants of
Auditory-Induced Emotion. Diss. Chalmers University of Technology, 2008. Print.
Tajadura-Jimnez, 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.
352
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 352
25/06/15 20:26
BIBLIOGRAPHY
Thompson, Kristin. The Concept of Cinematic Excess. Cin-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 Hlscher, Ruth Conroy Dalton, and Alasdair Turner. Bremen,
Germany: Universitt Bremen, 2007. 163-180. Print.
Turner, Mark, and Gilles Fauconnier. Conceptual Integration and Formal Expression. Metaphor
& Symbolic Activity 10.3 (1995): 183-204. Print.
Umilt, Alessandra M., et al. I Know What You Are Doing: A Neurophysiological Study. Neuron
31 (2001): 155165. Print.
Urea, 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 Almodvars Cinema: Metaphor and Metonymy of
the Body and Body Parts. Metaphor and Symbol 25.3 (2010): 181-203. Print.
Vljame, Aleksander, and Ana Tajadura-Jimnez. 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.
353
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 353
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. LActe perceptif et le cinma. 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, Universitt der Knste
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. 83107. Print.
Wollheim, Richard. Painting as an Art. Princeton, NJ: Princeton University Press, 1987. Print.
354
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 354
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 Bordwells 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, Ren 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. Whats 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.
355
Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - Leuven University Press, 2015
Kravanja_FINAL_DEF.indd 355
25/06/15 20:26