miércoles, 8 de noviembre de 2023

Experiencia y percepción del cine

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Experience and perception of film

 

 

Anderson, Joseph D. The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale: Southern Illinois UP, 1996.

_____. "21. The Reality of Illusion." 1996. In Evolution, Literature and Film: A Reader. Ed. Brian Boyd, Joseph Carroll and Jonathan Gottschall. New York: Columbia UP, 2010. 246-57.*

Anderson, Joseph, and Barbara Anderson. "Motion Perception in Motion Pictures." In The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. New York: St Martin's, 1980.

Arnheim, Rudolf. From Film as Art ("Film and Reality"). 1933. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 312-21. (Film and perception).

Arriaga Benítez, Juan Manuel. "Patrones narrativos: Fórmulas estructurales y sus respuestas emocionales en cine y televisión." Revista Eviterna 11 (March 2022): 7-23.*

         https://doi.org/10.24310/Eviternare.vi11.13856

         Online at Academia.*

         https://www.academia.edu/74045969/

         2022

Balázs, Béla. Theory of the Film: Character and Growth of a New Art. London, 1952. 1953.

_____. From Theory of Film ("The Close-up"). 1945. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 304-11.* (Face, perception, lyricism, gesture).

Barratt, Daniel. "'Twist Blindness': The Role of Primacy, Priming, Schemas, and Reconstructive Memory in a First-Time Viewing of The Sixth Sense." In Puzzle Films: Complex Storytelling in Contemporary Cinema. Ed. Warren Buckland. Chichester: Wiley; Malden: Blackwell, 2009. 62-86.* (M. Night Shyamalan).

Baudry, Jean-Louis. "Ideological Effects of the Basic Cinematographic Apparatus." 1970. Trans. Alan Williams. In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1970.

_____. "Ideological Effects of the Basic Cinematographic Apparatus." 1970. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 345-55.* (The subject; identification).

_____. "The Apparatus." Camera obscura 1 (Fall 1976).

_____. "The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 760-77.*

Bellour, Raymond. Le corps du cinéma.

Bordwell, David. "The Viewer's Share: Models of Mind in Explaining Film." David Bordwell's Website on Cinema May 2012.*

         http://www.davidbordwell.net/essays/viewersshare.php

         2012

Boyd, David. Film and the Interpretive Process: A Study of Blow-Up, Rashomon, Citizen Kane, 8 1/2, Vertigo and Persona. (Ars interpretandi 1). New York: Peter Lang, 1989.*

Branigan, Edward. "Story World and Screen." Selection. In Narratology: An Introduction. Ed. Susana Onega and José Angel García Landa. London: Longman, 1996. 234-48.*

Brigham, Linda. "Cinema and the Paralysis of Perception: Robbe-Grillet, Condillac, Virilio." In Reading Matters: Narrative in the New Media Ecology. Ed. Joseph Tabbi and Michael Wutz. Ithaca (NY): Cornell UP, 1997. 119-35.*

Browne, Nick. "The Spectator-in-the-Text: The Rhetoric of Stagecoach." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 148-63.*

Buckland, Warren.  The Cognitive Semiotics of Film. Cambridge: Cambridge UP, 2000.*

Carroll, Noël, and William P. Seeley. "Cognitivism, Psychology, and Neuroscience: Movies as Attentional Engines." In Psychocinematics: Exploring Cognition at the Movies. Ed. Arthur P. Shimamura. Oxford: Oxford UP, 2013. 53-75.

Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. 1971. Enlarged ed. Cambridge (MA): Harvard UP, 1979.

_____. La Projection du monde. Belin, 1999.

_____. From The World Viewed ("Photograph and Screen"). 1971. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 334-44.* (Stars, type-casting, perception of film).

_____. "What Becomes of the Thing on Film?" In Cavell, Themes Out of School: Effects and Causes. San Francisco: North Point Press, 1984.

_____. Philosophie des salles obscures. Flammarion, 2011.

Cohen, Anna-Lisa, Elliot Shavalian, and Moshe Rube. "The Power of the Picture: How Narrative Film Captures Attention and Disrupts Goal Pursuit." PLOs One 10 Dec. 2015.* (Bang You're Dead, Hitchcock 1961)

         DOI: 10.1371/journal.pone.0144493

         http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0144493

         2016

Doane, Mary Ann. "Temporality, Storage, Legibility: Freud, Marey, and the Cinema." Critical Inquiry 22.2 (Winter 1996): 313-43.*

Fulton, Helen. "9. Film Narrative and Visual Cohesion." In Helen Fulton et al., Narrative and Media. Cambridge: Cambridge UP, 2005. 108-22.*

Ghislotti, Stefano. "Narrative Comprehension Made Difficult: Film Form and Mnemonic Devices in Memento." In Puzzle Films: Complex Storytelling in Contemporary Cinema. Ed. Warren Buckland. Chichester: Wiley; Malden: Blackwell, 2009. 87-106.* (Christopher Nolan).

Grodal, Torben. Embodied Visions: Evolution, Emotion, Culture, and Film. Oxford: Oxford UP, 2009.

Gunning, Tom. "An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator." 1989. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 818-32.*

Hasson, Uri, et al. "Neurocinematics: The Neuroscience of Film." Projections: The Journal for Movies and Mind 2.1 (Summer 2008): 1-23.

Holland, Norman. "Your Brain on Movies." In This Is Your Brain on Culture 4 March 2009.

         http://blogs.psychologytoday.com/blog/is-your-brain-culture/200903/your-brain-movies

         2009

Huss, R., and N. Silverstein. The Film Experience. New York, 1968.

Kracauer, Siegfried. "General characteristics." (Phenomenology of film). In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 27-74.*

_____. From Theory of Film ("The Establishment of Physical Existence"). 1960. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 293-303.* (Film and perception).

_____. Theory of Film: The Redemption of Physical Reality. Oxford: Oxford UP, 1960.

_____. Theory of Film. New York, 1965.

_____. Theory of Film: The Redemption of Physical Reality. Introd. Miram Bratu Hansen. Princeton (NJ): Princeton UP, 1997.*

_____. From Theory of Film. ("Basic Concepts"). 1960. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 171-82.*

Mast, Gerald. From Film/Cinema/Movie ("Projection"). 1977. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 329-33.*

Metz, Christian. Le Signifiant imaginaire. Paris: UGE, 1977.

_____. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Anwyl Williams and Alfred Guzzett. Bloomington: Indiana UP, 1977.

_____. Psicoanálisis y cine: El significante imaginario. Trans. Josep Elías. Barcelona: G. Gili, 1979.

_____. From The Imaginary Signifier ("Identification, Mirror"). 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 800-17.* (Fetishism, etc.).

Oakley, Todd, and Vera Tobin. "Attention, Blending, and Suspense in Classic and Experimental Film." In Blending and the Study of Narrative: Approaches and Applications. Ed. Ralf Schneider and Marcus Hartner. Berlin and Boston: De Gruyter,  2012. 57-83.*

Oudart, Jean-Pierre. "Cinema and Suture." Screen 18.4 (1977-8): 35-47.

Pechter, William S. Twenty-Four Times a Second. New York, 1971.

Shimamura, Arthur P., ed. Psychocinematics: Exploring Cognition at the Movies.  Oxford: Oxford UP, 2013.

Sobchack, Vivian. Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton UP, forthcoming 1991.

_____. "Phenomenology and the Film Experience." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 36-58.*

Tikka, Pia, and Mauri Kaipainen. "13. Intersubjectivity, Idiosyncrasy, and Narrative Deixis: A Neurocinematic Approach." In Narrative Complexity: Cognition, Embodiment, Evolution. Ed. Marina Grishakova and Maria Poulaki. Lincoln: U of Nebraska P, 2019. 314-37.*

 

 

 

 

Journals

 

 

Projections: The Journal for Movies and Mind 2.1 (Summer 2008).

 

 

 

 

 

Video

 

 

Bellour, Raymond, et al. "L'écran, c'est le cerveau." YouTube (CRAL – Centre de Recherches sur les Arts et le Langage) 29 July 2014.*

         http://youtu.be/5leQg1iSFAs

         2014

 

 

 

See also Spectators; Semiotics of film

 

 

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      from A Bibliography of Literary Theory, Criticism and Philology http://bit.ly/abibliog by José Ángel García L...