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Switch to: References
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El interés de la filosofía por el cine ha sido siempre escaso teniendo en cuenta la enorme repercusión estética y cultural de esta forma de expresión. Además, los enfoques filosóficos que se acercaron al fenómeno cinematográfico y que construyeron las bases de la teoría del cine en la primera mitad del siglo XX, fueron desplazados en la década de los sesenta, por la semiótica primero y por la narratología después. No obstante, en los últimos años empieza a generalizarse un acceso (...) |
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This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization and the proliferation (...) |
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Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) |
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电影感知研究，是欧美近20年来兴起的跨学科实证研究。电影感知研究主要以心 理学的感知科学为基础，并且结合电影学、传播学、计算机科学、统计学等学科， 以实证的方法探讨电影的构建与观众解读机制之间的联系。文章通过对电影感知研 究历史的梳理和总结，探讨了传统电影研究中忽略的问题，讨论了电影感知研究的 学科性质和应用前景。 . |
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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 (...) |
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Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...) |
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