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Studying the neuroscience of film is based on the hypothesis that some films, or film segments, lead viewers through a similar sequence of perceptual, emotional and cognitive states. Using fMRI brain imaging, researchers asked participants to watch 30 minutes of The Good, the Bad and the Ugly (1966) as they lay on their backs in the MRI scanner.
Rudolf Arnheim (July 15, 1904 – June 9, 2007) was a German-born writer, art and film theorist, and perceptual psychologist. He learned Gestalt psychology from studying under Max Wertheimer and Wolfgang Köhler at the University of Berlin and applied it to art.
Theodor Lipps (German:; 28 July 1851 – 17 October 1914) was a German philosopher, known for his theory regarding aesthetics, creating the framework for the concept of Einfühlung (), defined as, "projecting oneself onto the object of perception."
Pages in category "Psychology of art" The following 7 pages are in this category, out of 7 total. ... Interior design psychology; P. Psychoanalytic film theory ...
If film, as has always been claimed, can be brought close to the dream, then it must be possible to approach it with the means of psychoanalysis (analogous to the interpretation of a dream). Freud's concepts of the Oedipus complex, narcissism, castration, the unconscious, the return, and hysteria are all utilized in film theory. [ 3 ]
The philosophy of film is a branch of aesthetics within the discipline of philosophy that seeks to understand the most basic questions about film. Philosophy of film has significant overlap with film theory , a branch of film studies .
People mostly know film as an entertainment but film can do more than that. Gianluca Sergi and Alan Lovell cite a study in their essays [10] on cinema entertainment that the film users (the viewers) see films as an escape from reality and a source of amusement, relaxation and knowledge, meaning films also function as an educational tool and a method of stress relief.
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
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