Das Zuschauergefühl. Möglichkeiten qualitativer Medienanalyse

162. Embodying audio-visual media: Concepts and transdisciplinary perspectives

“…Having in mind the question regarding compositional features that structure episodic experience, from a film studies perspective these results can be seen as hinting towards a linkage between temporal segments of cinematic images Ϫ like audio-visual movement patterns (Kappelhoff and Bakels 2011) Ϫ and respective physio-psychological patterns; they also highlight the interrelation of movement patterns and the specific affect poetics of different cinematic genres (Kappelhoff and Grotkopp 2012;Visch and Tan 2009). Nevertheless, a crucial step in relating theories on the embodied experience of audio-visual movement to the (neuro-)physiology of film perception lies ahead in examining the linkage between perceptions of moving images and sensory-motor experiences as a start.…”

“…It draws on the concept of cinematic expressive movement (Kappelhoff 2004;Kappelhoff and Bakels 2011) as a theoretical perspective on experimental findings regarding the (neuro-) physiological aspects of film viewing and as a starting point in developing a transdisciplinary perspective on the embodied perception of audio-visual movement patterns. In taking the linkage of movement and affect as a starting point, it aims at sketching out theoretical vanishing points of a transdisciplinary perspective on the embodied experience of audio-visual media, arguing that audio-visual movement patterns shape a specific intersubjective dimension of experiencing film and other audio-visual media.…”

“…At the core of this model lies the model of cinematic expressive movement (Kappelhoff 2004), conceiving audiovisual movement patterns as cinematic means of organizing a specific spatio-temporal experience that literally incorporates perceptive, affective, and cognitive dimensions of film viewing (Kappelhoff 2004;Kappelhoff and Bakels 2011;Scherer, Greifenstein, and Kappelhoff this volume). Following the work of Vivian Sobchack, Hugo Münsterberg, and Hermann Kappelhoff, a theoretical view on the embodied dimensions of film experience has been outlined that accounts for the intersubjective dynamics of affectivity and meaning constitution in film viewing.…”

163. Cinematic communication and embodiment

“…This is the way in which a cinematic movement transforms into the spectator's feeling (Zuschauergefühl, see Kappelhoff and Bakels 2011). To be more precise, we conceive of dynamic structures as the basic mode linking the spectator and his experience to the film: We assume that only temporality brings into being the 'tuning' of spectator and film.…”

“…This brings up for discussion how specific films, their genre poetics, and aesthetics can be investigated, how these films make the audiences laugh or cry by means of their complex temporal structures (Kappelhoff and Bakels 2011;Kappelhoff and Grotkopp 2012). But it also goes beyond the general film-spectator relation, for it takes into account that each film is always a composition of very specific and individual audio-visual images.…”