Over the last two decades, discoveries made in the field of cognitive neuroscience have begun to permeate the humanities and social sciences. In the context of this intersection, Neurofilmology is a research program that arises at the encounter between two models of viewer: the viewer-as-mind (deriving from a cognitive/analytical approach) and the viewer-as-body (typical of the phenomenological/continental approach). Accordingly, Neurofilmology focuses on the viewer-as-organism, by investigating with both empirical and speculative epistemological tools the subject of audiovisual experience, postulated as embodied, embedded, enacted, extended, emerging, affective, and relational.
The special issue 22/23 of Cinéma & Cie, edited by Adriano D’Aloia and Ruggero Eugeni, focuses on major conceptual and epistemological arguments arising from the dialogue between audiovisual studies and neurosciences developed over the last twenty years. In fact, the contributors share the conviction that such a dialogue can be fruitful if and only if it is conducted within a common and consistent framework, including both epistemological and conceptual aspects. Such a framework should allow each of the research programs to contribute to a shared understanding of that particular and complex phenomenon that is the film and audiovisual media viewing experience.
- Adriano D’Aloia and Ruggero Eugeni, Neurofilmology: An Introduction
- Temenuga Trifonova, Neuroaesthetics and Neurocinematics: Reading the Brain/Film through the Film/Brain
- Maria Poulaki, Neurocinematics and the Discourse of Control: Towards a Critical Neurofilmology
- Patricia Pisters, Dexter’s Plastic Brain: Mentalizing and Mirroring in Cinematic Empathy
- Enrico Carocci, First-Person Emotions: Affective Neuroscience and the Spectator’s Self
- Maarten Coëgnarts and Peter Kravanja, The Sensory-Motor Grounding of Abstract Concepts in Two Films by Stanley Kubrick
- Pia Tikka and Mauri Kaipainen, Phenomenological Considerations on Time Consciousness under Neurocinematic Search Light
- Vittorio Gallese and Michele Guerra, The Feeling of Motion: Camera Movements and Motor Cognition
Cover image: The Brain That Wouldn’t Die (Joseph Green, USA 1962). Poster by Reynold Brown