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Titlebook: Cognitive Theory and Documentary Film; Catalin Brylla,Mette Kramer Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Cognitiv

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发表于 2025-3-21 20:04:24 | 显示全部楼层 |阅读模式
书目名称Cognitive Theory and Documentary Film
编辑Catalin Brylla,Mette Kramer
视频video
概述Foreword by documentary scholar Bill Nichols.Explores a wide range of documentary formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos.Constit
图书封面Titlebook: Cognitive Theory and Documentary Film;  Catalin Brylla,Mette Kramer Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Cognitiv
描述This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos. Documentaries play an increasingly significant role in informing our cognitive and emotional understanding of today’s mass-mediated society, and this collection seeks to illuminate their production, exhibition, and reception. Taking an interdisciplinary approach, the essays draw on the latest research in film studies, the neurosciences, cultural studies, cognitive psychology, social psychology, and the philosophy of mind. With a foreword by documentary studies pioneer Bill Nichols and contributions from both theorists and practitioners, this volume firmly demonstrates that cognitive theory represents a valuable tool not only for film scholars but also for filmmakers and practice-led researchers.
出版日期Book 2018
关键词Cognitive Theory; media; production; intra-textuality; documentary; neuroscience; psychology; character; edi
版次1
doihttps://doi.org/10.1007/978-3-319-90332-3
isbn_softcover978-3-030-07993-2
isbn_ebook978-3-319-90332-3
copyrightThe Editor(s) (if applicable) and The Author(s) 2018
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TV documentary, as well as docudrama and web videos.ConstitThis groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documen
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Markov decision drift processesal experiences as the primary cinematic appeal. By looking at issues of experientiality in the documentary film, the chapter seeks to promote an awareness within the field of cognitive film theory that the senses are as important to our understanding of film experience as emotions and empathy.
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Documentary Spectatorship and the Navigation of “Difficulty” (Trin T Min-Ha 1989) and . (Johan Grimonprez 1997) are examined, drawing both on formal analysis and comments from the online postings of spectators. The question of “difficulty” and its navigation is set within the broader context of documentary as a discursive form.
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Docudrama and the Cognitive Evaluation of Realism argues that documentaries, but also fiction, tend to be believed unless such cognitive and affective processes provide disconfirmation, and that documentaries may often be veiled propaganda, as in the case of ., where a central purpose is to present a glowing portrait of former British Prime Minister Tony Blair.
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