Despite traditionally having been studied within the field of Musicology, the analysis of music in film should be approached as an aesthetic study of the relationship between «image» and «music» which is central to the cinematographic framework. From this interdisciplinary perspective numerous theoretical and methodological issues emerge. The aim of this article is to investigate, using both a synchronic and diachronic focus, some of the key issues arising from this joint music-image approach, in an attempt to develop a theoretical framework (...) for a joint aesthetic of music and image: a study of «cinematographic expression» that brings together the visual and the sound dimensions and which we call the «musicalised image», a neologism of our own creation. (shrink)

Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.

When we remember a scene, the scene’s boundaries are wider than the boundaries of the scene we saw. This phenomenon is called boundary extension. The most important philosophical question about boundary extension is whether it is a form of perceptual adjustment or adjustment during memory encoding. The aim of this paper is to propose a third explanatory scheme, according to which the extended boundary of the original scene is represented by means of mental imagery. And given the similarities between perception (...) and mental imagery, the memory system encodes both the part of the scene that is represented perceptually and the part of the scene that is represented by means of mental imagery. (shrink)

Within cinematic horror, trauma as a concept has often been used as an allegorical strategy to work through collective anxieties. This article on It Follows (David Robert Mitchell, 2014) and Get Out (Jordan Peele, 2017) strikes another note. It argues that, by their aesthetic qualities, both films are rendered traumatic in their affective orientation, both toward the cinematic world and toward the spectator. It analyses the two films through trauma as an affective-aesthetic strategy that puts emphasis on the edge of (...) the frame as well as on the offscreen space. This strategy evokes a sinister mood that exists independently of the protagonists, allowing us to meaningfully feel the effects of their trauma as we engage with the film. Especially the use of the offscreen space in both films contributes to the “traumatic mood” of the films, but it also functions to immerse the spectator in the invisible filmic world. In this way, It Follows and Get Out embody trauma as a denial of relief from dread, which we both recognize in the characters' experience, and feel in our own bodies through the effective creation of ever-present threat. (shrink)

Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought (...) to be caused by the presence of picturelike representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted. (shrink)

When we remember a scene, the scene’s boundaries are wider than the boundaries of the scene we saw. This phenomenon is called boundary extension. The most important philosophical question about boundary extension is whether it is a form of perceptual adjustment or adjustment during memory encoding. The aim of this paper is to propose a third explanatory scheme, according to which the extended boundary of the original scene is represented by means of mental imagery. And given the similarities between perception (...) and mental imagery, the memory system encodes both the part of the scene that is represented perceptually and the part of the scene that is represented by means of mental imagery. (shrink)