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1. Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

2. Embodied Cognition and Cinema
EDITED BY
MAARTEN COËGNARTS AND PETER KRAVANJA
WITH A FOREWORD BY
MARK JOHNSON
Leuven University Press
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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

3. © 2015 by Leuven University Press / Universitaire Pers Leuven / Presses Universitaires
de Louvain. Minderbroedersstraat 4, B-3000 Leuven (Belgium)
All rights reserved. Except in those cases expressly determined by law, no part of this publication
may be multiplied, saved in an automated dataile or made public in any way whatsoever without
the express prior written consent of the publishers.
ISBN 978 94 6270 028 4
D/2015/1869/22
NUR: 670
Cover illustration: “The Go-Between”
© 1971, Renewed 1999 Columbia Pictures, a division of Columbia Pictures Industries, Inc.
All Rights Reserved. Courtesy of Columbia Pictures
© 1970 STUDIOCANAL Films Ltd.
Cover design en lay-out: Frederik Danko
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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

4. We had the experience but missed the meaning,
And approach to the meaning restores the experience
In a diferent form, beyond any meaning
We can assign to happiness.
T.S. Eliot, Four Quartets
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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

5. TABLE OF CONTENTS
FOREWORD 9
Mark Johnson
ACKNOWLEDGEMENTS 15
FILM AS AN EXEMPLAR OF BODILY MEANING-MAKING 17
Maarten Coëgnarts and Peter Kravanja
PART I
FILM FORM AND EMBODIED COGNITION
FILM NARRATIVE AND EMBODIED COGNITION:
THE IMPACT OF IMAGE SCHEMAS ON NARRATIVE FORM 43
Miklós Kiss
EMBODIED VISUAL MEANING IN FILM 63
Maarten Coëgnarts and Peter Kravanja
FILM MUSIC AS EMBODIMENT 81
Juan Chattah
PART II
CINEMATIC EMPATHY: ON EMBODIED SIMULATION
MECHANISMS AND THE VIEWER
THE FLOATING WORLD: FILM NARRATIVE AND VIEWER DIAKRISIS 115
Hannah Chapelle Wojciehowski
MODES OF ACTION AT THE MOVIES, OR RE-THINKING
FILM STYLE FROM THE EMBODIED PERSPECTIVE 139
Michele Guerra
ART IN NOISE: AN EMBODIED SIMULATION ACCOUNT
OF CINEMATIC SOUND DESIGN 155
Mark S. Ward
6
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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015

6. 7
THE CHARACTER’S BODY AND THE VIEWER:
CINEMATIC EMPATHY AND EMBODIED SIMULATION
IN THE FILM EXPERIENCE 187
Adriano D’Aloia
PART III
FROM EMBODIED MEANING TO ABSTRACT THOUGHT
FILMS AND EMBODIED METAPHORS OF EMOTION 203
María J. Ortiz
EMBODIED CINEMATIC SUBJECTIVITY: METAPHORICAL AND
METONYMICAL MODES OF CHARACTER PERCEPTION IN FILM 221
Maarten Coëgnarts and Peter Kravanja
ON THE EMBODIMENT OF TEMPORAL MEANING IN CINEMA:
PERCEIVING TIME THROUGH THE CHARACTER’S EYES 245
Maarten Coëgnarts and Peter Kravanja
EMBODIED ETHICS AND CINEMA: MORAL ATTITUDES
FACILITATED BY CHARACTER PERCEPTION 271
Maarten Coëgnarts and Peter Kravanja
COGNITIVE SEMIOTICS REVISITED: REFRAMING THE FRAME 295
Warren Buckland
NOTES 309
BIBLIOGRAPHY 325
FILMOGRAPHY 357
LIST OF CONTRIBUTORS 359
ILLUSTRATION CREDITS 363
INDEX 365
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Reprint from Embodied Cognition and Cinema - ISBN 978 94 6270 028 4 - © Leuven University Press, 2015