Why do people go to the movies? What does it mean to watch a movie? To what extent is the perceived fictional nature of movies different from our daily perception of the real world? In this book, film theory and neuroscience meet to shed new light on cinema masterpieces, and explore the great directors from the classical period to the present.
Why do people go to the movies? What does it mean to watch a movie? To what extent is the perceived fictional nature of movies different from our daily perception of the real world? In this book, film theory and neuroscience meet to shed new light on cinema masterpieces, and explore the great directors from the classical period to the present.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Vittorio Gallese, MD and trained neurologist, is Professor of Psychobiology at the University of Parma, Italy and Adjunct Senior Research Scholar, Dept. of Art History and Archeology, Columbia University, New York, USA. Cognitive neuroscientist, his research focuses on the relation between the sensory-motor system and cognition by investigating the neurobiological and bodily grounding of intersubjectivity, empathy, language and aesthetics. He is the author of more than 200 scientific publications and two books. Michele Guerra is Professor of Film Theory at the University of Parma. Authors of more than one hundred publications among articles and books, his work mainly focuses on the relationship between cognitive neuroscience and cinema, American and Italian film history. He is an Associate Editor of the film journal "Fata Morgana", and member of the Scientific Board of "Cinergie", "La Valle dell'Eden", and "Arabeschi".
Inhaltsangabe
1: Embodied Simulation: A new model of perception 2: Stilted Movements and Improbable Stares 3: Camera Movements and Motor Cognition 4: Cut and Harmony 5: Face and Hands 6: New Mediation, New Films, New Experiments Glossary References
1: Embodied Simulation: A new model of perception 2: Stilted Movements and Improbable Stares 3: Camera Movements and Motor Cognition 4: Cut and Harmony 5: Face and Hands 6: New Mediation, New Films, New Experiments Glossary References
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