This contribution reflects on contemporary film experience under the light of the encounter between the traditional semiological/aesthetic approach to narrative audiovisual media and some notions borrowed from embodied cognitive science. The theory of embodied cognition is studied with particular reference to a specific film genre and respective formal style, i.e. space-exploration film. As a case study, the opening sequence of Alfonso Cuarón’s Gravity is analysed to point out the dynamic disembodiment/re-embodiment, which is described as a strategy of spectator’s involvement.
Embodiment ed esperienza filmica. A partire da "Gravity"
D'ALOIA A
2015
Abstract
This contribution reflects on contemporary film experience under the light of the encounter between the traditional semiological/aesthetic approach to narrative audiovisual media and some notions borrowed from embodied cognitive science. The theory of embodied cognition is studied with particular reference to a specific film genre and respective formal style, i.e. space-exploration film. As a case study, the opening sequence of Alfonso Cuarón’s Gravity is analysed to point out the dynamic disembodiment/re-embodiment, which is described as a strategy of spectator’s involvement.File in questo prodotto:
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