Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

Embodied Cognition and Cinema

EDITED BY MAARTEN COËGNARTS AND PETER KRAVANJA

WITH A FOREWORD BY MARK JOHNSON

Leuven University Press

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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

© 2015 by Leuven University Press / Universitaire Pers Leuven / Presses Universitaires de Louvain. Minderbroedersstraat 4, B-3000 Leuven (Belgium)All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers.

ISBN 978 94 6270 028 4D/2015/1869/22NUR: 670

Cover illustration: “The Go-Between”© 1971, Renewed 1999 Columbia Pictures, a division of Columbia Pictures Industries, Inc. All Rights Reserved. Courtesy of Columbia Pictures© 1970 STUDIOCANAL Films Ltd.

Cover design en lay-out: Frederik Danko

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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

We had the experience but missed the meaning,And approach to the meaning restores the experienceIn a different form, beyond any meaningWe can assign to happiness.

T.S. Eliot, Four Quartets

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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

TA B L E O F C O N T E N T SFOREWORD 9Mark Johnson

ACKNOWLEDGEMENTS 15

FILM AS AN EXEMPLAR OF BODILY MEANING-MAKING 17Maarten Coëgnarts and Peter Kravanja

PART IFILM FORM AND EMBODIED COGNITION

FILM NARRATIVE AND EMBODIED COGNITION: THE IMPACT OF IMAGE SCHEMAS ON NARRATIVE FORM 43Miklós Kiss

EMBODIED VISUAL MEANING IN FILM 63Maarten Coëgnarts and Peter Kravanja

FILM MUSIC AS EMBODIMENT 81Juan Chattah

PART IICINEMATIC EMPATHY: ON EMBODIED SIMULATION MECHANISMS AND THE VIEWER

THE FLOATING WORLD: FILM NARRATIVE AND VIEWER DIAKRISIS 115Hannah Chapelle Wojciehowski

MODES OF ACTION AT THE MOVIES, OR RE-THINKING FILM STYLE FROM THE EMBODIED PERSPECTIVE 139Michele Guerra

ART IN NOISE: AN EMBODIED SIMULATION ACCOUNT OF CINEMATIC SOUND DESIGN 155Mark S. Ward

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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

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THE CHARACTER’S BODY AND THE VIEWER: CINEMATIC EMPATHY AND EMBODIED SIMULATION IN THE FILM EXPERIENCE 187Adriano D’Aloia

PART IIIFROM EMBODIED MEANING TO ABSTRACT THOUGHT

FILMS AND EMBODIED METAPHORS OF EMOTION 203María J. Ortiz

EMBODIED CINEMATIC SUBJECTIVITY: METAPHORICAL AND METONYMICAL MODES OF CHARACTER PERCEPTION IN FILM 221Maarten Coëgnarts and Peter Kravanja

ON THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA: PERCEIVING TIME THROUGH THE CHARACTER’S EYES 245Maarten Coëgnarts and Peter Kravanja

EMBODIED ETHICS AND CINEMA: MORAL ATTITUDES FACILITATED BY CHARACTER PERCEPTION 271Maarten Coëgnarts and Peter Kravanja

COGNITIVE SEMIOTICS REVISITED: REFRAMING THE FRAME 295Warren Buckland

NOTES 309BIBLIOGRAPHY 325FILMOGRAPHY 357LIST OF CONTRIBUTORS 359ILLUSTRATION CREDITS 363INDEX 365

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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015