Enactive Cinematic Perception

Authors Bjorn Beijnon
Published in Anthropoetics: The Journal of Generative Anthropology
Publication date 1 December 2017
Research groups Access to Justice
Type Article

Summary

Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)

researchcomponents.publicationcontent.personslist.publicationauthors

  • Bjorn Beijnon | Teacher-researcher | Access to Justice
    Bjorn Beijnon
    • Teacher-researcher
    • Research groups: Access to Justice

Language English
Published in Anthropoetics: The Journal of Generative Anthropology
Year and volume 23 1
Key words Enactive Perception, cognition, Jean-Louis Baudry, Film Theory, ideology, close reading

Bjorn Beijnon

Bjorn Beijnon | Teacher-researcher | Access to Justice

Bjorn Beijnon

  • Teacher-researcher
  • Research group: Access to Justice