Cognitive film theory: 2011 bibliographical update

Last January I post a list of papers from 2010 on the broadly defined topic of cognitive film theory, and this year I’m doing the same for the past twelve months. There is something for everyone here (check out Neal et al‘s paper on eating popcorn in the cinema), but I would particularly point you in the direction of a special issue of Science in Context on ‘Cinematography, Seriality, and the Sciences’ from last year, which you can find here.

As ever, this list is not exhaustive but it should be accurate. I’ve included some interesting sounding papers that can be accessed as e-publications ahead of print, and so the year of publication may change when they move from digital to analogue form.

  1. Bacon H 2011 The extent of mental completion of films, Projections 5 (1): 31-50.
  2. Berliner T and Cohen DJ 2011 The illusion of continuity: active perception and the classical editing system, Journal of Film and Video 63 (1): 44-63.
  3. Brown W2011 Resisting the psycho-logic of intensified continuity, Projections 5 (1): 69-86.
  4. Caputo NM and Rouner D 2011 Narrative processing of entertainment media and mental illness stigma, Health Communication 6 (7): 595-604. DOI: 10.1080/10410236.2011.560787.
  5. Cartwright L 2011 The hands of the projectionist, Science in Context 24 (3): 443-64. DOI: 10.1017/S0269889711000184.
  6. Cook RF 2011 Correspondences in visual imaging and spatial orientation in dreaming and film viewing, Dreaming 21 (2): 89-104. DOI: 10.1037/a0022866.
  7. Coyne SM, Nelson DA, Robinson SL, and Gundersen NC 2011 Is viewing ostracism on television distressing?, The Journal of Social Psychology 151 (3): 213-217. DOI: 10.1080/00224540903365570.
  8. Curtis S 2011 ‘Tangible as tissue:’ Arnold Gesell, infant behavior, and film analysis, Science in Context 24 (3): 417-442. DOI: 10.1017/S0269889711000172.
  9. Edelstein RS, Kean EL, and Chopik WJ 2011 Women with an avoidant attachment style show attenuated estradiol responses to emotionally intimate stimuli, Hormones and Behaviour, in press, DOI:10.1016/j.yhbeh.2011.11.007.
  10. Ghazanfar AA and Shepherd SV 2011 Monkeys at the movies: what evolutionary cinematics tells us about film, Projections 5 (2): 1-25.
  11. Haxby JV, Guntupalli JS, Connolly AC, Halchenko YO, Conroy BR, Gobbini MI, Hanke M, and Ramadge PJ 2011 A common, high-dimensional model of the representational space in human ventral temporal cortex, Neuron 72 (2): 404-16. DOI: 10.1016/j.neuron.2011.08.026.
  12. Hoeckner, B, Wyatt EW, Decety J and Nusbaum H 2011 Film music influences how viewers relate to movie characters, Psychology of Aesthetics, Creativity, and the Arts 5 (2): 146-153. DOI: 10.1037/a0021544
  13. Howarth PA 2011 Potential hazards of viewing 3-D stereoscopic television, cinema and computer games: a review, Ophthalmic and Physiological Optics 31 (2): 111-122. DOI: 10.1111/j.1475-1313.2011.00822.x.
  14. Jones S 2011 The pure moment of murder: the symbolic function of bodily interactions in horror films, Projections 5 (2): 96-114.
  15. Kano F and Tomonaga M 2011 Species difference in the timing of gaze movement between chimpanzees and humans, Animal Cognition 14 (6): 879-892. DOI: 10.1007/s10071-011-0422-5.
  16. Kovács AB 2011 Causal understanding and narration, Projections 5 (1): 51-68.
  17. Lavaur J-F and Bairstow D 2011 Languages on the screen: is film comprehension related to the viewers’ fluency level and to the language in the subtitles?, International Journal of Psychology, 46 (6): 455-462. DOI:10.1080/00207594.2011.565343.
  18. Lerner Y, Honey CJ, Silbert LJ, and Hasson U 2011 Topographic mapping of a hierarchy of temporal receptive windows using a narrated story, The Journal of Neuroscience 31 (8): 2906-2915. DOI:10.1523/JNEUROSCI.3684-10.2011.
  19. Magliano JP and Zacks JM 2011 The impact of continuity editing in narrative film on event segmentation, Cognitive Science 35 (8): 1489-1517. DOI: 10.1111/j.1551-6709.2011.01202.x
  20. Mital PK, Smith TJ, Hill R, and Henderson JM 2011 Clustering of gaze during dynamic scene viewing is predicted by motion, Cognitive Computation 3 (1): 5-24. DOI: 10.1007/s12559-010-9074-z.
  21. Neal DT, Wood W, Wu M, and Kurlander D 2011 The pull of the past: when do habits persist despite conflict with motives?, Personality and Social Psychology Bulletin 37 (11): 1428-1437. DOI: 10.1177/0146167211419863.
  22. Nishimoto S, Vu AT, Naselaris T, Benjamini Y, Yu B, and Gallant JL 2011 Reconstructing visual experiences from brain activity evoked by natural movies, Current Biology 21 (19): 1641-1646. DOI: 10.1016/j.cub.2011.08.031.
  23. Pannasch S, Selden DL, Velichkovsky BM, and Bridgeman B 2011 Apparent Phi-motion in sequences of Eisenstein’s October, Gestalt Theory 33 (1): 69-80.
  24. Pavlović I and Marković S 2011 The effect of music background on the emotional appraisal of film sequences, Psihologija 44 (1): 71-91. DOI: 10.2298/PSI1101071P.
  25. Plantinga C 2011 Folk psychology for film critics and scholars, Projections 5 (2): 26-50.
  26. Sabbadini A 2011 Cameras, mirrors, and the bridge space: a Winnicottian lens on cinema, Projections 5 (1): 17-30.
  27. Shibata H, Inui T, and Ogawa K 2011 Understanding interpersonal action coordination: an fMRI study, Experimental Brain Research 211 (3-4): 569-579. DOI: 10.1007/s00221-011-2648-5.
  28. Silvia PJ and Berg C 2011 Finding movies interesting: how appraisals and expertise influence the aesthetic experience of film, Empirical Studies of the Arts 29 (1): 73 – 88.
  29. Sonnenschein D 2011 Sound spheres: a model of psychoacoustic space in cinema, The New Soundtrack 1 (1): 13-27. DOI 10.3366/sound.2011.0003.
  30. Vandaele J 2011 What meets the eye: cognitive narratology for audio description, Perspectives: Studies in Translation, in press, DOI: 10.1080/0907676X.2011.632683.
  31. Wagner DD, Dal Cin S, Sargent JD, Kelley WM, and Heatherton TF 2011 Spontaneous action representation in smokers when watching movie characters smoke, The Journal of Neuroscience 31 (3): 894-898. DOI: 10.1523/​JNEUROSCI.5174-10.2011
  32. Wilson RT and Till BD 2011 Recall of preshow cinema advertising: a message processing perspective, Journal of Marketing Communications, in press, DOI: 10.1080/13527266.2010.538071.
  33. Zacks JM, Kurby CA, Eisenberg ML, and Haroutunian N 2011 Prediction error associated with the perceptual segmentation of naturalistic events, Journal of Cognitive Neuroscience 23 (12): 4057-4066. DOI: 10.1162/jocn_a_00078.
  34. Zumalde-Arregi I 2011 The filmic emotion: a comparative analysis of film theories, Revista Latina de Comunicación Social 66: 326-349. DOI: 10.4185/RLCS-66-2011-936-326-349-EN.
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About Nick Redfern

I graduated from the University of Kent in 1998 with a degree in Film Studies and History, and was awarded an MA by the same institution in 2002. I received my Ph.D. from Manchester Metropolitan University in 2006 for a thesis title 'Regionalism and the Cinema in the United Kingdom, 1992 to 2002.' I have taught at Manchester Metropolitan University and the University of Central Lancashire. My research interests include regional film cultures and industries in the United Kingdom; cognition and communication in the cinema; anxiety in contemporary Hollywood cinema; cinemetrics; and film style and film form. My work has been published in Entertext, the International Journal of Regional and Local Studies, the New Review of Film and Television Studies, Cyfrwng: Media Wales Journal, and the Journal of British Cinema and Television.

Posted on January 5, 2012, in Cognitive Film Theory, Film Studies, Film Theory and tagged , , . Bookmark the permalink. 3 Comments.

  1. CarrieLynn D. Reinhard

    Nick, do you know of any empirical studies on an individual’s reception of a film that does not measure that reception after the film? Or, to put it another way, do you know of any studies that attempt to measure how a person responds to a film while watching the film?

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