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.

D'aloia, A., Embodiment ed esperienza filmica. A partire da "Gravity", <<RETI SAPERI LINGUAGGI>>, 2015; (1): 149-166. [doi:10.12832/81295] [http://hdl.handle.net/10807/69367]

Embodiment ed esperienza filmica. A partire da "Gravity"

D'Aloia, Adriano
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.
ita
D'aloia, A., Embodiment ed esperienza filmica. A partire da "Gravity", <>, 2015; (1): 149-166. [doi:10.12832/81295] [http://hdl.handle.net/10807/69367]
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/10807/69367
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