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Murray Smith is a film theorist and philosopher of art based at the University of Kent, where he is Professor of Philosophy, Art, and Film [1] and co-director of the Aesthetics Research Centre. [2] He is the author of three books and numerous articles on film and aesthetics, and the co-editor of three collections of essays. [ 3 ]
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 ...
Within aesthetic research, cognitivism has been most successful in literary and film studies (in the forms of cognitive literary theory (as proposed by Mary Thomas Crane and Alan Richardson) and cognitive film theory (as proposed by Noël Carroll) respectively, where it generally aims to explain audience comprehension, emotional elicitation ...
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]
This page was last edited on 27 August 2018, at 23:43 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may ...
Noël Carroll (born 1947) is an American philosopher and a leading figure in contemporary philosophy of art.Although Carroll is best known for his work in the philosophy of film (he is a proponent of cognitive film theory), he has also published journalism, works on philosophy of art generally, theory of media, and also philosophy of history.
The Fright of Real Tears: Krzysztof Kieślowski Between Theory and Post-Theory is a 2001 book by the Slovenian philosopher Slavoj Žižek which uses free associative film interpretation to tangentially examine the films of Polish director Krzysztof Kieślowski while avoiding the debate between cognitive film theory and psychoanalytic film theory.
David Jay Bordwell (/ ˈ b ɔːr d w əl /; July 23, 1947 – February 29, 2024) was an American film theorist and film historian. [1] After receiving his PhD from the University of Iowa in 1973, he wrote more than fifteen volumes on the subject of cinema including Narration in the Fiction Film (1985), Ozu and the Poetics of Cinema (1988), Making Meaning (1989), and On the History of Film ...