Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120211
Jane Stadler
Murray Smith’s Film, Art, and the Third Culture makes a significant contribution to cognitive film theory and philosophical aesthetics, expanding the conceptual tools of film analysis to include perspectives from neuroscience and evolutionary psychology. Smith probes assumptions about how cinema affects spectators by examining aspects of experience and neurophysiological responses that are unavailable to conscious, systematic reflection. This article interrogates Smith’s account of emotion, empathy, and imagination in cinematic representation and film spectatorship, placing his work in dialogue with other recent interventions in the fields of cinema studies and embodied cognition. Smith’s contribution to understanding the role of emotion in screen studies is vital, and when read in conjunction with recent publications by Carl Plantinga and Mark Johnson on ethical engagement and the moral imagination, this new work constitutes a notable advance in film theory.
{"title":"“Mind the Gap”","authors":"Jane Stadler","doi":"10.3167/PROJ.2018.120211","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120211","url":null,"abstract":"Murray Smith’s Film, Art, and the Third Culture makes a significant\u0000contribution to cognitive film theory and philosophical aesthetics, expanding\u0000the conceptual tools of film analysis to include perspectives from neuroscience\u0000and evolutionary psychology. Smith probes assumptions about how cinema\u0000affects spectators by examining aspects of experience and neurophysiological\u0000responses that are unavailable to conscious, systematic reflection. This\u0000article interrogates Smith’s account of emotion, empathy, and imagination in\u0000cinematic representation and film spectatorship, placing his work in dialogue\u0000with other recent interventions in the fields of cinema studies and embodied\u0000cognition. Smith’s contribution to understanding the role of emotion in screen\u0000studies is vital, and when read in conjunction with recent publications by Carl\u0000Plantinga and Mark Johnson on ethical engagement and the moral imagination,\u0000this new work constitutes a notable advance in film theory.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90082570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120207
V. Gallese
The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as presented in his Film, Art, and the Third Culture against the background of a new model of perception and imagination: embodied simulation.
{"title":"Naturalizing Aesthetic Experience","authors":"V. Gallese","doi":"10.3167/PROJ.2018.120207","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120207","url":null,"abstract":"The naturalization of the aesthetic experience of film and art can\u0000benefit from the contribution of neuroscience because we can investigate\u0000empirically the concepts we use when referring to it and what they are made\u0000of at the level of description of the brain-body. The neuroscientific subpersonal\u0000level of description is necessary but not sufficient, unless it is coupled\u0000with a full appreciation of the tight relationship that the brain entertains with\u0000the body and the world. In this article, I will discuss aspects of Murray Smith’s\u0000proposal on the aesthetic experience of art and film as presented in his Film,\u0000Art, and the Third Culture against the background of a new model of perception\u0000and imagination: embodied simulation.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87985393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120209
P. Livingston
These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.
{"title":"Questions about Aesthetic Experience","authors":"P. Livingston","doi":"10.3167/PROJ.2018.120209","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120209","url":null,"abstract":"These brief comments raise some questions about Murray Smith’s\u0000remarks, in his new volume Film, Art, and the Third Culture: A Naturalized\u0000Aesthetics of Film, on the nature of aesthetic experience. My questions concern\u0000how we might best draw a viable distinction between aesthetic and\u0000non-aesthetic experiences and focus in particular on possible links between\u0000self-awareness and aesthetic experiences. In sum, I agree with Smith in holding\u0000that we should not give up on the notion of aesthetic experience, even\u0000though aestheticians continue to disagree regarding even the most basic\u0000questions pertaining to its nature.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88458059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120210
R. Reisenzein
Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.
默里·史密斯(Murray Smith)在《电影、艺术和第三文化》(Film, Art, and the Third Culture)中关于自然化美学的建议引起了电影理论家和心理学家的兴趣:对于前者来说，它有助于阐明电影是如何运作的;对于后者，它提供了心理学理论的具体应用案例。然而，我们有理由相信，史密斯从心理学中借鉴来作为案例研究基础的情感理论——基本情感理论的延伸版本——并没有他所建议的那样得到很好的支持。现有的经验证据似乎更符合这样的假设，即不同的情绪是一个单一的、综合的系统的输出。
{"title":"Naturalized Aesthetics and Emotion Theory","authors":"R. Reisenzein","doi":"10.3167/PROJ.2018.120210","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120210","url":null,"abstract":"Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized\u0000aesthetics is of interest to both film theorists and psychologists: for the\u0000former, it helps to elucidate how films work; for the latter, it provides concrete\u0000application cases of psychological theories. However, there are reasons for believing\u0000that the theory of emotions that Smith has adopted from psychology\u0000to ground his case studies—an extended version of basic emotions theory—is\u0000less well supported than he suggests. The available empirical evidence seems\u0000more compatible with the assumption that the different emotions are outputs\u0000of a single, integrated system.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74635128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120215
Johannes Riis
While the Russian film actor Ivan Mozzhukhin has been recognized by film scholars such as Jean Mitry as one of the important actors of the silent screen the nature of his contributions has gone unexplained and, ironically, Mozzhukhin is perhaps best remembered for a lost experiment, presumably carried out by Lev Kuleshov around 1920, that showed how the editor can construct character emotions with shots of contextual objects. The historical record and scientific attempts to replicate the experiment indicate that we need to pay attention to Mozzhukhin’s role as performer and my study of his performances suggests that we may have to rethink long-held assumptions about the relationship between performer expressiveness and editing.
{"title":"Ivan Mozzhukhin’s Acting Style","authors":"Johannes Riis","doi":"10.3167/PROJ.2018.120215","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120215","url":null,"abstract":"While the Russian film actor Ivan Mozzhukhin has been recognized\u0000by film scholars such as Jean Mitry as one of the important actors of the silent\u0000screen the nature of his contributions has gone unexplained and, ironically,\u0000Mozzhukhin is perhaps best remembered for a lost experiment, presumably\u0000carried out by Lev Kuleshov around 1920, that showed how the editor can\u0000construct character emotions with shots of contextual objects. The historical\u0000record and scientific attempts to replicate the experiment indicate that we\u0000need to pay attention to Mozzhukhin’s role as performer and my study of his\u0000performances suggests that we may have to rethink long-held assumptions\u0000about the relationship between performer expressiveness and editing.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"103 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86898566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120203
D. Davies
Murray Smith’s plea for a “cooperative naturalism” that adopts a “triangulational” approach to issues in film studies is both timely and well-defended. I raise three concerns, however: one is external, relating to this strategy’s limitations, and two are internal, relating to Smith’s application of the strategy. While triangulation seems appropriate when we ask about the nature of film experience, other philosophical questions about film have an ineliminable normative dimension that triangulation cannot address. Empirically informed philosophical reflection upon the arts must be “moderately pessimistic” in recognizing this fact. The internal concerns relate to Smith’s claims about the value and neurological basis of cinematic empathy. First, while empathy plays a central role in film experience, I argue that its neurological underpinnings fail to support the epistemic value he ascribes to it. Second, I question Smith’s reliance, in triangulating, upon the work of the Parma school on “mirror neurons.”
{"title":"A Moderately Pessimistic Perspective on “Cooperative Naturalism”","authors":"D. Davies","doi":"10.3167/PROJ.2018.120203","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120203","url":null,"abstract":"Murray Smith’s plea for a “cooperative naturalism” that adopts a\u0000“triangulational” approach to issues in film studies is both timely and well-defended.\u0000I raise three concerns, however: one is external, relating to this\u0000strategy’s limitations, and two are internal, relating to Smith’s application of\u0000the strategy. While triangulation seems appropriate when we ask about the\u0000nature of film experience, other philosophical questions about film have an\u0000ineliminable normative dimension that triangulation cannot address. Empirically\u0000informed philosophical reflection upon the arts must be “moderately\u0000pessimistic” in recognizing this fact. The internal concerns relate to Smith’s\u0000claims about the value and neurological basis of cinematic empathy. First,\u0000while empathy plays a central role in film experience, I argue that its neurological\u0000underpinnings fail to support the epistemic value he ascribes to it. Second,\u0000I question Smith’s reliance, in triangulating, upon the work of the Parma\u0000school on “mirror neurons.”","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86583963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/proj.2018.120204
Laura T. Di Summa-Knoop
Can naturalized aesthetics contribute to the evaluation of a work? In this article, I consider three ways in which naturalized aesthetics may inform critical evaluation. First, I analyze the role of naturalized aesthetic analysis in the formation of the creative choices made by filmmakers. Second, I assess the relationship between the analysis of empathy provided by Murray Smith’s Film, Art, and the Third Culture and the expression of moral evaluations. And third, I outline what I take to be naturalized aesthetics’ promising potential contribution to the study of genre and contra-standard features. In the concluding section, I instead introduce what I take to be two rather serious difficulties to a cooperation between criticism and naturalized aesthetics.
{"title":"Naturalized Aesthetics and Criticism","authors":"Laura T. Di Summa-Knoop","doi":"10.3167/proj.2018.120204","DOIUrl":"https://doi.org/10.3167/proj.2018.120204","url":null,"abstract":"Can naturalized aesthetics contribute to the evaluation of a work?\u0000In this article, I consider three ways in which naturalized aesthetics may inform\u0000critical evaluation. First, I analyze the role of naturalized aesthetic analysis\u0000in the formation of the creative choices made by filmmakers. Second,\u0000I assess the relationship between the analysis of empathy provided by\u0000Murray Smith’s Film, Art, and the Third Culture and the expression of moral\u0000evaluations. And third, I outline what I take to be naturalized aesthetics’\u0000promising potential contribution to the study of genre and contra-standard\u0000features. In the concluding section, I instead introduce what I take to be two\u0000rather serious difficulties to a cooperation between criticism and naturalized\u0000aesthetics.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3167/proj.2018.120204","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72507209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120216
Catalin Brylla, M. Kramer
Traditionally, there has been little intersection between cognitive film theory and documentary studies. This article initially outlines the main reasons for this lacuna, but it also highlights the few existing exceptions. While these remain too embryonic to initiate a large, overarching, and evolving discourse, they constitute seminal landmarks and stepping stones for the future of cognitive documentary studies, which, as we argue, needs to be a pragmatic endeavor. Based on this premise, we propose a research framework consisting of four areas of interest: the mediation of realities; character engagement; emotion and embodied experience; and documentary practice. This framework takes into account intratextual and extratextual aspects in relation to documentary production and reception, as well as potential social impacts.
{"title":"A Pragmatic Framework for the Cognitive Study of Documentary","authors":"Catalin Brylla, M. Kramer","doi":"10.3167/PROJ.2018.120216","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120216","url":null,"abstract":"Traditionally, there has been little intersection between cognitive film theory and documentary studies. This article initially outlines the main reasons for this lacuna, but it also highlights the few existing exceptions. While these remain too embryonic to initiate a large, overarching, and evolving discourse, they constitute seminal landmarks and stepping stones for the future of cognitive documentary studies, which, as we argue, needs to be a pragmatic endeavor. Based on this premise, we propose a research framework consisting of four areas of interest: the mediation of realities; character engagement; emotion and embodied experience; and documentary practice. This framework takes into account intratextual and extratextual aspects in relation to documentary production and reception, as well as potential social impacts.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85576401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/proj.2018.120206
Stacie Friend
In Film, Art, and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics, who reject the relevance of psychology and neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue here that Smith does not go far enough in developing this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach.
{"title":"Collaboration in the Third Culture","authors":"Stacie Friend","doi":"10.3167/proj.2018.120206","DOIUrl":"https://doi.org/10.3167/proj.2018.120206","url":null,"abstract":"In Film, Art, and the Third Culture, Murray Smith articulates and defends\u0000a naturalized aesthetics of film that exemplifies a “third culture,” integrating\u0000the insights and methods of the natural sciences with those of the\u0000arts and humanities. By contrast with skeptics, who reject the relevance of\u0000psychology and neuroscience to the study of film and art, I agree with Smith\u0000that we should embrace the third-cultural project. However, I argue here that\u0000Smith does not go far enough in developing this project. In defending the contribution\u0000of the natural sciences to film aesthetics as traditionally conceived\u0000in the arts and humanities, Smith focuses on only one side of the equation,\u0000unduly limiting the potential contribution of the arts and humanities to the\u0000scientific study of film. Using the example of emotional responses to fiction\u0000film, I propose that we adopt a more genuinely integrative approach.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78802885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3167/PROJ.2018.120212
Katherine Thomson-Jones
This article offers a critical discussion of Murray Smith’s proposals regarding the role of science in film theory and the philosophy of art more broadly. I would like to examine the precise role given by Film, Art, and the Third Culture to scientific evidence in understanding film engagement. There are points in the book where scientific evidence is used to considerable theoretical or philosophical advantage. But there are other points where the role of scientific evidence is unclear or where an opportunity is missed for its full deployment in theorizing.
{"title":"The Role of Scientific Research in Film Theory","authors":"Katherine Thomson-Jones","doi":"10.3167/PROJ.2018.120212","DOIUrl":"https://doi.org/10.3167/PROJ.2018.120212","url":null,"abstract":"This article offers a critical discussion of Murray Smith’s proposals\u0000regarding the role of science in film theory and the philosophy of art more\u0000broadly. I would like to examine the precise role given by Film, Art, and the\u0000Third Culture to scientific evidence in understanding film engagement. There\u0000are points in the book where scientific evidence is used to considerable theoretical\u0000or philosophical advantage. But there are other points where the role\u0000of scientific evidence is unclear or where an opportunity is missed for its full\u0000deployment in theorizing.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74007544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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