The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

Physiognomic properties refer to the nonliteral sensory, perceptual, and affective connotations evoked by an object: a mountain, for example, is big as well as “quiet, looming, and threatening.” In this study (N = 58), the three types of meanings carried by meaningless stimuli were examined. Four equally unfamiliar stimuli, which were either physiognomically evocative (maluma and taketa) or neutral, were rated on 15 perceptual, affective, and sensory scales. Taketa and maluma were distinguished on 21 of the 30 endpoints of the (...) scales, whereas the neutral stimuli were distinguished on only 8. Subjects’ physiognomy and sex did not play a role. The implications of these findings are discussed. (shrink)

In physiognomy, sensory, perceptual, and affective connotations are suggested by an object. For example, a mountain, in addition to being literally big, may also seem “quiet, looming, and threatening.” The capacity of physiognomically endowed but meaningless stimuli (like taketa and maluma) to transfer these meanings to similarly unfamiliar but neutral stimuli was examined on 15 perceptual, affective, and sensory rating scales (N = 118). The meanings of the two neutral stimuli were influenced in 26 instances (vs. 8 cases in which (...) the neutral stimuli followed one other); most changes were affective and sensory rather than perceptual; and the shifts in meanings were noncongruent—taketa’s “aggressiveness,” for example, led to a “peaceful” rating of the two neutral shapes. The implications of these findings are discussed. (shrink)

The illustrated anatomical works of Andreas Vesalius, now icons of medical history, exemplified Renaissance humanists' attitudes toward the human condition. Methods of teaching medical students gross anatomy have evolved from the attitudes and methods of Renaissance scientist-scholars. The work of Vesalius is crucial to understanding the revolution in early modern medicine, for not only is it devoted to minute observation and exploration of the human body, but also to translating new knowledge by means of art. In the process of illustration, (...) the cadavers become ennobled, leading the viewer to contemplation of the nature of our common humanity. It is the thesis of this paper that the merging of art and science achieved in the great anatomical studies of the 16th and 17th centuries may still be useful in the education of medical students by allowing a balance between scientific detachment and compassion. (shrink)

Philosophical discussions of depiction sometimes suffer from a lack of differentiation between several questions concerning the nature of pictorial representation. To provide a suitable framework I distinguish six such questions and several levels on which one might want to proceed in order to answer some of them. With this background, I reconstruct Goodman's and Elgin's answer to the specific question: What distinguishes the pictorial from the verbal or linguistic? I try to reveal some major motivations behind their system-oriented approach and (...) to indicate some reasons why a strategy of this kind is to a certain extent mandatory to grasp the nature of the pictorial. The system-relative and functional character of depiction has to be captured by every adequate theory. (shrink)