Take a deep breath …

For the past three and a half years I have added a post to this blog every Thursday covering a range of topics and hopefully introducing you to some new ideas that aren’t just the same old film studies.

At present it is not feasible for me to carry on producing one post a week as I have just too much data to work through on slasher films, a whole host of RKO musicals, Scandinavian crime films (they really do get everywhere), and Asian horror films. As time passes it gets harder to work with data because you start to forget all the little details you observe during the collection phase and so I want to make some progress in these areas without too many distractions. (It turns out you can play Championship Manager 99-00 on a Windows 7 machine, and that is all the distraction anyone needs).

Consequently, I won’t add any  more posts until I’ve managed to get on top of the mass of data I have accumulated (assuming I don;t add more to the pile) or unless something particularly annoys me or I find something worth commenting on (so it’s entirely possible normal service will be resumed next week).

To keep you going in the meantime, here is an interesting article published 9 days ago in Frontiers in Human Neuroscience:

Dudai Y 2012 The cinema-cognition dialogue: a match made in brain, Frontiers in Human Neuroscience 6: 248.

That human evolution amalgamates biological and cultural change is taken as a given, and that the interaction of brain, body, and culture is more reciprocal then initially thought becomes apparent as the science of evolution evolves (Jablonka and Lamb, 2005). The contribution of science and technology to this evolutionary process is probably the first to come to mind. The biology of Homo sapiens permits and promotes the development of technologies and artefacts that enable us to sense and reach physical niches previously inaccessible. This extends our biological capabilities, but is also expected to create selective pressures on these capabilities. The jury is yet out on the pace at which critical biological changes take place in evolution. There is no question, however, that the kinetics of technological and cultural change is much faster, rendering the latter particularly important in the biography of the individual and the species alike. The capacity of art to enrich human capabilities is recurrently discussed by philosophers and critics (e.g., Arsitotle/PoeticsRichards, 1925Smith and Parks, 1951Gibbs, 1994). Yet less attention is commonly allotted to the role of the arts in the aforementioned ongoing evolutional tango. My position is that the art of cinema is particularly suited to explore the intriguing dialogue between art and the brain. Further, in the following set of brief notes, intended mainly to trigger further thinking on the subject, I posit that cinema provides an unparalleled and highly rewarding experimentation space for the mind of the individual consumer of that art. In parallel, it also provides a useful and promising device for investigating brain and cognition.

And here is the National Media Museums report on the first ever colour motion picture:

The report form the Guardian is here.

About Nick Redfern

I am an independent academic with over 15 years experience teaching film in higher education in the UK. I have taught film analysis, film industries, film theories, film history, science fiction at Manchester Metropolitan University, the University of Central Lancashire, and Leeds Trinity University, where I was programme leader for film from 2016 to 2020. My research interests include computational film analysis, horror cinema, sound design, science fiction, film trailers, British cinema, and regional film cultures.

Posted on September 13, 2012, in Film Studies and tagged . Bookmark the permalink. 1 Comment.

  1. Oh no–I just discovered your blog and am really interested in your work. Good luck getting on top of those projects and I look forward to reading more when you’re back.

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