Film as Embodied Art

Abstract

List of Illustrations ixList of Illustrations xii 4.25. The cat and mouse game between General Mireau and General Broulard from Paths of Glory (part three). 4.26. A, exclusion of Mireau, B, entry of Mireau, C, exit of Broulard, and D, inclusion of Broulard. 4.27. A complex mirror shot in The Shining. 4.28. Danny "enters the lion's den" in The Shining. 4.29. Wendy and Danny are caught in the "labyrinth" of Jack's mind (The Shining). 4.30. Enclosing of the mirror image of Alice in Eyes Wide Shut. 4.31. Alice tells Bill about the naval officer in Eyes Wide Shut. 4.32. Alice tells Bill her dream in Eyes Wide Shut. 5.1. Representing narrative absorption through A, entry, and B, enclosure. 5.2. Musico-visual alliance in 2001: ascending inclusion as accompanied by Johan Strauss's The Blue Danube (sheet music excerpts for horns and cello, respectively). 5.3. First statement and beginning of second statement of Richard Strauss's Also sprach Zarathustra as used inMoon-Watcher's epiphany scene from 2001: the riddle remains unsolved. 5.4. Continuation of second statement and unfoldment of the third statement of Richard Strauss's Also sprach Zarathustra as used in Moon-Watcher's epiphany scene from 2001: the riddle is solved. 5.5. Aligning dialogue and music in The Shining: Danny and Jack are having a talk on the bed as we hear the third movement from Bartók's Music for Strings, Percussion and Celesta. 5.6. The use of the third movement from Bartók's Music for Strings, Percussion and Celesta in The Shining (part one). Used by permission of Jeremy Barham. 5.7. The use of the third movement from Bartók's Music for Strings, Percussion and Celesta in The Shining (part two). Used by permission of Jeremy Barham. 5.8. The appearance of the high note G in Ligeti's Musica ricercata, as aligned with the image of Bill seeing the mask on the pillow (Eyes Wide Shut). 5.9. The repetition of the G note in Ligeti's Musica ricercata, as aligned with the increase of emotional intensity inside Bill as inflicted upon him by his perception of the mask (Eyes Wide Shut). 5.10. The return of the lower main theme in Ligeti's Musica ricercata, as aligned with Bill's downward entry into the frame (Eyes Wide Shut). 5.11. The high Gs pierce through the semitones in Ligeti's Musica ricercata, as aligned with Bill's emotional collapse (Eyes Wide Shut). 5.12. The disappearance of the high Gs and the release of tension in Ligeti's Musica ricercata, as aligned with Bill's vow to confess everything to Alice (Eyes Wide Shut). TABLESI.1. The film as language metaphor. I.2. The thought as language metaphor. 1.1. Situational continuity along the dimensions of time, space and causality (after Zwaan, Magliano and Graesser). 1.2. The literary source material of Kubrick's work.List of Illustrations xiii 1.3. The screenplay credits of Kubrick's films. 1.4. The use of narration in Kubrick's films. 1.5. The literal skeleton for our conception of event structure (after Narayanan). 2.1. Some sensory-perceptual systems (after Evans and Green). 2.2. A partial list of image s...

Shaping Films from the Inside Out: Embodied Mental Schemas in Filmmaking and Viewing

“…As with the boy's drawing, we are dealing with a structural organization of form, only now the compositional pattern spells out something far more complex and abstract. More recently, my own work within the field of cognitive film studies (Coëgnarts 2019(Coëgnarts , 2022(Coëgnarts , 2023 has moved from the nontemporal arts to the temporal medium of film to defend a similar claim with regard to the embodied meaning-making processes in film art. Rather than stressing the importance of visual dynamics in stationary artworks, these studies draw attention to the significant role of motion vectors and the dynamic patterns of containment in fleshing out narrative meanings (see also Coëgnarts, Slugan 2022).…”

“…This is how, for instance, our reasoning about time is widely understood in terms of spatial motion schemas (e.g., Boroditsky 2000;Gentner 2001) and our conceptualization of emotions is highly dependent on dynamic container schemas (e.g., Kövecses 2000). More recently, scholars have also explored the implications of Conceptual Metaphor Theory for the study of film (e.g., Coëgnarts 2017Coëgnarts , 2019Coëgnarts , 2020Coëgnarts, Kravanja 2012Fahlenbrach 2008Fahlenbrach , 2016Kiss, Willemsen 2017;Ortiz 2011). These studies reveal a causal link with the functional and stylistic elements of film aesthetics, arguing that it is through these elements that embodied patterns are shaped by virtue of which meanings are carried over to an audience.…”

Embodied Cinematography in Mr. Robot

“…The meaning is metaphorically mapped within the sensory-motor system through, for example, conceptual metaphors. Several authors have hitherto argued that embodied metaphors are used to arrange the elements in a certain frame because they are inherent to human thought and essential to express abstract concepts (see Forceville, Jeulink 2011;Forceville, Renckens 2013;Ortiz 2011Ortiz , 2014Ortiz , 2015Winter 2014;Coëgnarts, Kravanja 2012a, 2012b, 2105, 2016a, 2016bBálint, Tan 2015;Fahlenbrach 2016;Coëgnarts 2019Coëgnarts , 2020.…”