[
Albert, Mina V. 2018. Rompiendo las normas. Cameraman: Revista técnica cinematográfica.
]Search in Google Scholar
[
Arijon, Daniel. 1991. Grammar of the film language. Los Angeles: Silman-James Press.
]Search in Google Scholar
[
Arnheim, Rudolf. 1954. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of California Press.
]Search in Google Scholar
[
Arnheim, Rudolf. 1957. Film as Art. Berkeley: University of California Press.
]Search in Google Scholar
[
Bálint, Katalin; Tan Ed S. 2015. ‘It feels like there are hooks inside my chest: The construction of narrative absorption experiences using image schemata.’ − Projections: The Journal for Movies and Mind 9, 2, 63−88. https://doi.org/10.3167/proj.2015.090205
]Search in Google Scholar
[
Berliner, Todd.; Cohen, Dale J. 2011. ‘The illusion of continuity: Active perception and the classical editing system.’ − Journal of Film and Video 63, 1, 44−63. https://doi.org/10.5406/jfilmvideo.63.1.0044
]Search in Google Scholar
[
Coëgnarts, Maarten. 2017. ‘Cinema and the Embodied Mind: Metaphor and Simulation in Understanding Meaning in Films.’ Palgrave Communications 3, 1, 1−15. https://doi.org/10.1057/palcomms.2017.67
]Search in Google Scholar
[
Coëgnarts, Maarten. 2019. Film as Embodied Art: Bodily Meaning in the Cinema of Stanley Kubrick. Boston: Academic Studies Press.
]Search in Google Scholar
[
Coëgnarts, Maarten. 2020. ‘How motion shapes thought in cinema: the embodied film style of Éric Rohmer.’ Projections 14, 2, 26−47. https://doi.org/10.3167/proj.2020.140203
]Search in Google Scholar
[
Coëgnarts, Maarten; Kravanja, Peter. 2012a. ‘Embodied Visual Meaning: Image Schemas in Film.’ − Projections 6,2, 84–101. https://doi.org/10.3167/proj.2012.060206
]Search in Google Scholar
[
Coëgnarts, Maarten; Kravanja, Peter. 2012b. ‘From Thought to Modality: A Theoretical Framework for Analysing Structural-Conceptual Metaphors and Image Metaphors in Film.’ − Image & Narrative 13, 96–113. https://www.imageandnarrative.be/index.php/imagenarrative/article/view/226
]Search in Google Scholar
[
Coëgnarts, Maarten; Kravanja, Peter. 2014. ‘A study in cinematic subjectivity: Metaphors of perception in film.’ − Metaphor and the Social World 4, 2, 149−173. https://doi.org/10.1075/msw.4.2.01coe.
]Search in Google Scholar
[
Coëgnarts Maarte; Kravanja, Peter. 2015. ‘With the past in front of the character: Evidence for spatial-temporal metaphors in cinema.’ − Metaphor and Symbol 30, 3, 218–239. https://doi.org/10.1080/10926488.2015.1049508
]Search in Google Scholar
[
Coëgnarts Maarten; Kravanja, Peter. 2016a. ‘Perceiving causality in character perception: A metaphorical study of causation in film.’ − Metaphor and Symbol 31, 2, 91–107. https://doi.org/10.1080/10926488.2016.1150762
]Search in Google Scholar
[
Coëgnarts, Maarten; Kravanja, Peter. 2016b. ‘The eyes for mind in cinema: A metaphorical study of the viewer’s experience.’ − K. Fahlenbrach (ed.), Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches. London/New York: Routledge, 129−144.
]Search in Google Scholar
[
Collins, Sean T. 2015. ‘How Mr. Robot Became One of TV’s Most Visually Striking Shows’. Vulture. https://www.vulture.com/2015/09/mr-robot-visually-striking-cinematography.html
]Search in Google Scholar
[
Cumming, Geoff. 2012. Understanding the new statistics: Effect sizes, confidence intervals, and meta-analysis. Routledge.
]Search in Google Scholar
[
Fahlenbrach, Kathrin. (ed.) 2016. Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches. London/New York: Routledge.
]Search in Google Scholar
[
Forceville, Charles. 2016. ‘Visual and multimodal metaphor in film: charting the field.’ − K. Fahlenbrach (ed.), Embodied Metaphors in Film, Television and Video Games: Cognitive Approaches. London: Routledge, 17−32.
]Search in Google Scholar
[
Forceville Charles; Jeulink, Marloes. 2011. ‘The flesh and blood of embodied understanding: The source-path-goal schema in animation film.’ − Pragmatics & Cognition 19, 1, 37−59. https://doi.org/10.1075/pc.19.1.02for
]Search in Google Scholar
[
Forceville Charles; Renckens Thijs. 2013. ‘The good is light and bad is darkness metaphors in feature films.’ − Metaphor and the Social World 3, 2, 160−179. https://doi.org/10.1075/msw.3.2.03for
]Search in Google Scholar
[
Gallese, Vittorio; Guerra, Michelle. 2012. ‘Embodying movies: Embodied simulation and film studies.’ − Cinema: Journal of Philosophy and the Moving Image, 183−210.
]Search in Google Scholar
[
Giannetti, Louis. 2002. Understanding movies. New Jersey: Prentince Hall.
]Search in Google Scholar
[
Grady, Joseph E. 1997. Foundations of meaning: Primary Metaphors and Primary Scenes. Unpublished doctoral dissertation, University of California, Berkeley.
]Search in Google Scholar
[
Grady, Joseph E.; Ascoli, Giorgio A. 2017. ‘Sources and targets in primary metaphor theory: Looking back and thinking ahead.’ − B. Hampe (ed.), Metaphor: Embodied cognition and discourse. Cambridge: Cambridge University Press, 27−45.
]Search in Google Scholar
[
Grodal, Torben. 2009. Embodied Visions. New York: Oxford University Press.
]Search in Google Scholar
[
Heimann, Katrin S.; Uithol, Sebo; Calbi, Marta.; Umiltà, MariaA.; Guerra, Michelle; Gallese, Vittorio. 2016. ‘Cuts in Action: A High-Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film.’ − Cognitive science 41, 6, 1555−1588. https://doi.org/10.1111/cogs.12439
]Search in Google Scholar
[
Katz, Steven D. 1991. Film directing, shot by shot. Visualizing from concept to screen. California: Focal Press.
]Search in Google Scholar
[
Maddock, Daniel. 2018. ‘Uncomposed: Unconventional cinematographic composition in cinema and television.’ − Australian art education 39, 2, 268−287.
]Search in Google Scholar
[
Magliano, Joseph P.; Zacks, Jeffrey. M. 2011. ‘The impact of continuity editing in narrative film on event segmentation.’ − Cognitive Science. A Multidisciplinary Journal 35, 1489–1517. https://doi.org/10.1111/j.1551-6709.2011.01202.x
]Search in Google Scholar
[
Martin, Adrian. 2014. Mise en Scène and Film Style. From Classical Hollywood to New Media Art. Palgrave Macmillan.
]Search in Google Scholar
[
Mascelli, Joseph V. 1965. The five C’s of cinematography.Motion Picture Filming Techniques. California: Silman-James Press.
]Search in Google Scholar
[
Millerson, Gerald. 1985. The technique of television production. London: Focal Press.
]Search in Google Scholar
[
Mital, Parag K.; Smith, Tim J.; Hill, Robin L.; Henderson, John M. 2011. ‘Clustering of gaze during dynamic scene viewing is predicted by motion.’ − Cognitive Computation 3, 5−24. https://doi.org/10.1007/s12559-010-9074-z
]Search in Google Scholar
[
Newman, Michael Z. 2006. ‘From beats to arcs: Toward a poetics of television narrative.’ − The velvet light trap 58, 1, 16−28. https://doi.org/10.1353/vlt.2006.0033
]Search in Google Scholar
[
Olk, Bettina; Kappas, Arvid. 2011. ‘Eye tracking as a tool for visual research’. − Eric Margolis, Luc Pauwels (eds.), The SAGE Handbook of Visual Research Methods. London: SAGE Publications, 433−451.
]Search in Google Scholar
[
Ortiz, María J. 2011. ‘Primary metaphors and monomodal visual metaphors.’ − Journal of Pragmatics 43, 6, 1568−1580. https://doi.org//10.1016/j.pragma.2010.12.003
]Search in Google Scholar
[
Ortiz, María J. 2014. ‘Visual Manifestations of Primary Metaphors Through Mise-en-scène Techniques.’ – Image & Narrative 15, 1, 5−16. https://www.risejournal.eu/index.php/imagenarrative/article/view/454
]Search in Google Scholar
[
Ortiz, María J. 2015. ‘Films and embodied metaphors of emotion.’ − M. Coëgnarts and P. Kravanja (eds.), Embodied cognition and cinema. Leuven University Press, 203−220.
]Search in Google Scholar
[
Schroeppel, Tom. 2015. The bare bones camera course for film and video. New York: Allworth Press.
]Search in Google Scholar
[
Smith, Greg M. 2003. Film structure and the emotion system. Cambridge: UP.
]Search in Google Scholar
[
Smith, Tim J. 2013. ‘Watching you watch movies: using eye tracking to inform film theory.’ − Arthur Shimamura (ed.), Psychocinematics: Exploring Cognition at the Movies, New York: Oxford University Press. 165−191.
]Search in Google Scholar
[
Smith, Tim J.; Henderson, John M. 2008. ‘Edit Blindness: The relationship between attention and global change blindness in dynamic scenes.’ − Journal of eye movement research 2, 1−17. https://doi.org/10.16910/jemr.2.2.6
]Search in Google Scholar
[
Smith, Tim J.; Levin, Daniel; Cutting, James E. 2012. ‘A window on reality: Perceiving edited moving images.’ − Current Directions in Psychological Science 21, 2: 107−113. https://www.jstor.org/stable/23213102https://www.jstor.org/stable/23213102
]Search in Google Scholar
[
Tomaric, Jason J. 2013. Filmmaking. Direct your movie from script to screen using proven Hollywood techniques. New York: Focal Press.
]Search in Google Scholar
[
Treuting, Jennifer. 2006. ‘Eye Tracking and the Cinema: A study of Film Theory and Visual Perception.’ – SMPTE Motion Imaging Journal 115, 1, 1−40, https://doi.org/10.5594/J11499
]Search in Google Scholar
[
Volmar, Daniel. 2017. ‘Far from the lonely crowd: the trenchant techno-cynicism of Mr. Robot.’ − Endeavour 41, 4, 208−210. https://doi.org/10.1016/j.endeavour.2017.05.002
]Search in Google Scholar
[
Winter, Bodo. 2014. ‘Horror movies and the cognitive ecology of primary metaphors.’ − Metaphor and Symbol 29, 3, 151−170. https://doi.org/10.1080/10926488.2014.924280
]Search in Google Scholar
[
Winter, Bodo; Matlock, Teenie. 2017. ‘Primary metaphors are both cultural and embodied.’ − Beate. Hampe (ed.), Metaphor: Embodied cognition and discourse. Cambridge: Cambridge University Press, 99−115.
]Search in Google Scholar