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This book explores conflicting conceptions of Brazilian national identity as they are expressed in contemporary Brazilian cinema, especially those revolving around the long-standing claim that Brazil is a racial democracy. -- Welsh Books Council
Pop music meets the media... This issue is dedicated to a social and cultural phenomenon that we could call the 'mediatization of pop music'. With a particular focus on the1960s and 1970s, it is our contention that these two decades significantly shaped our current mediatized culture both in its form and content. Since then, instead of political or confessional organisations, it was popular media and music that offered the contact point between public and private spheres, between the personal and the political, and this shift should be reconsidered as a focal trope in modern culture. We hope to widen the notion of mediatization by highlighting a range of historical processes that have had phenomenological after-effects: the experiential prototypes that were developed during this pivotal period later became persistent paradigms, and paved the way for the mediatized world we still live in.
A special issue of Cinéma&Cie which aims at tracing experiences of women's practices at the intersection of cinema and the arts by intertwining a theoretical and historical approach, analyzing cases studies from the mid-twentieth century up to our present moment.
A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void... Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator's sense of equilibrium. The 'tensive motifs' of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of 'Neurofilmology'--an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue--, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.
The present volume compiles translations of hitherto neglected texts in Asian philosophical traditions, along with several critical essays dealing with the philosophical issues of translating them into western languages. As the inaugural volume to a proposed series dedicated to making hidden primary sources of Asian philosophies available to the wider audience in western academia and beyond, this book treats diverse primary sources written by a broad range of thinkers from various historical periods and intellectual traditions, including the Indian, Chinese, Korean, and Japanese, among others. The translations, accompanied by critical essays, will shed light on major philosophical movements as Confucianism, Hinduism, Buddhism and others, thereby demonstrating multilayered development of intellectual traditions in Asia.
The charismatic and controversial figure of Mao Zedong has left a deep mark on the history of twentieth-century. His ghostly presence still looms large over China's new capitalist developments, and his legacy has also remarkably spread beyond national borders and into completely different political and social contexts.
Neurofilmology. audiovisual Studies and the challenge of Neuroscience Adriano d'Aloia and ruggero Eugeni, Neurofilmology: An Introduction Temenuga Trifonova, Neuroaesthetics and Neurocinematics: Reading the Brain/Film through the Film/Brain Maria Poulaki, Neurocinematics and the Discourse of Control: Towards a Critical Neurofilmology Patricia Pisters, Dexter's Plastic Brain: Mentalizing and Mirroring in Cinematic Empathy Enrico Carocci, First-Person Emotions: Affective Neuroscience and the Spectator's Self Maarten Coegnarts and Peter kravanja, The Sensory-Motor Grounding of Abstract Concepts in Two Films by Stanley Kubrick Pia Tikka and Mauri kaipainen, Phenomenological Considerations on Time Consciousness under Neurocinematic Search Light vittorio Gallese and Michele Guerra, The Feeling of Motion: Ca-mera Movements and Motor Cognition New Studies olivier Asselin, Cinema d'exposition 2.0: Mixed-Reality Games in and around the Museum livia Giunti, L'analyse du film a l'ere numerique. Annotation, geste analytique et lecture active Christian Gosvig olesen, Panoramic Visions of the Archive in EYE's Panorama: A Case Study in Digital Film Historiography francesco Pitassio, Distant Voices, Still Cinema? Around the Movies projects & abstracts reviews / comptes-rendus
This monograph presents a synthesis and reconstruction of Rudolf Arnheim’s theory of media. Combining both Arnheim’s well-known writings on film and radio with his later work on the psychology of art, the author presents a coherent approach to the problem of the nature of a medium, space and time, and the differentia between different media. The latent ontological commitments of Arnheim’s theories is drawn out by affirming Arnheim’s membership in the Brentano school of Austrian philosophy, which allows his theories to be clarified and strengthened, particularly with the metaphysical writings of Roman Ingarden. The resulting theory is relational, portraying essential medial differences with neutral criteria and allowing for a rigorous definition of a medium. The way in which a medium is based on the inherent dispositions of medial materials creates a highly appealing theory that is determinate without being deterministic. The theory is thus highly timely as people in media studies seek to address the determinate nature of media after the post-medium condition. The book will appeal to researchers and graduate students in cultural and media studies as well as architecture and design.
This edited volume focuses on the hypothesis that performativity is not a property confined to certain specific human skills, or to certain specific acts of language, nor an accidental enrichment due to creative intelligence. Instead, the executive and motor component of cognitive behavior should be considered an intrinsic part of the physiological functioning of the mind, and as endowed with self-generative power. Performativity, in this theoretical context, can be defined as a constituent component of cognitive processes. The material action allowing us to interact with reality is both the means by which the subject knows the surrounding world and one through which he experiments with the possibilities of his body. This proposal is rooted in models now widely accepted in the philosophy of mind and language; in fact, it focuses on a space of awareness that is not in the individual, or outside it, but is determined by the species-specific ways in which the body acts on the world. This theoretical hypothesis will be pursued through the latest interdisciplinary methodology typical of cognitive science, that coincide with the five sections in which the book is organized: Embodied, enactivist, philosophical approaches; Aesthetics approaches; Naturalistic and evolutionary approaches; Neuroscientific approaches; Linguistics approaches. This book is intended for: linguists, philosophers, psychologists, cognitive scientists, scholars of art and aesthetics, performing artists, researchers in embodied cognition, especially enactivists and students of the extended mind.