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The Control Cycle in Film

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<DIV align=justify>The aim of the present study is theoretical. The question set up for examination is whether there is a cognitive model that underpins human sense-making in the context of film experience. The conceptual resources provided by Cognitive grammar (as elaborated by Ronald W. Langacker), the recent developments of the neuroscience of emotions (as advocated by Lawrence Barsalou, Lisa Feldman Barrett, and Giovanna Colombetti), the theory of attention advocated by Michael S. A. Graziano, and several suggestions from the embodied-enactive approach (in the works of Evan Thompson and Maxine Johnson-Smith) seemed particularly useful coordinates for this research composed of analytical reflections. The study focuses on the cognitive model based on the action of control, understood as an explanatory instrument for creating meaning, and follows up with the possible applications in the domain of film analysis. The work is the result of collaborative research spurred by theoretical advances and hypotheses from neuroscience, neurolinguistics, and film theory and analysis. On the account developed here, the structure of the control cycle cognitive model is regarded as central to sense-making.</DIV>

Circular Coupling from Brain to Culture

1. Cognitive Grammar Notions

1. Cognitive Grammar Notions

Frontmatter

{"title":{"xml:lang":"en","content":"Frontmatter"}}

Contents

{"title":{"xml:lang":"en","content":"Contents"}}

Introduction

{"title":{"xml:lang":"en","content":"Introduction"}}

{"title":{"xml:lang":"en","content":"1. Cognitive Grammar Notions"}}

2. A General Description of the Control Cycle

2. A General Description of the Control Cycle

{"title":{"xml:lang":"en","content":"2. A General Description of the Control Cycle"}}

3. The Enactive Approach of Sense-making

{"title":{"xml:lang":"en","content":"3. The Enactive Approach of Sense-making"}}

4. The Grounded Approach of Perception and Action

4. The Grounded Approach of Perception and Action

{"title":{"xml:lang":"en","content":"4. The Grounded Approach of Perception and Action"}}

5. The Attention Schema

{"title":{"xml:lang":"en","content":"5. The Attention Schema"}}

6. The Predictive Brain

{"title":{"xml:lang":"en","content":"6. The Predictive Brain"}}

7. The Constructed Emotions

{"title":{"xml:lang":"en","content":"7. The Constructed Emotions"}}

8. The Grounded Simulation: Verbal and Visual Couplings

8. The Grounded Simulation: Verbal and Visual Couplings

{"title":{"xml:lang":"en","content":"8. The Grounded Simulation: Verbal and Visual Couplings"}}

9. The Descriptive System

{"title":{"xml:lang":"en","content":"9. The Descriptive System"}}

10. The E-site

{"title":{"xml:lang":"en","content":"10. The E-site"}}

11. The Image Pole and Object Pole

{"title":{"xml:lang":"en","content":"11. The Image Pole and Object Pole"}}

12. The Reference Point and Metonymy

{"title":{"xml:lang":"en","content":"12. The Reference Point and Metonymy"}}

13. The Metaphor

{"title":{"xml:lang":"en","content":"13. The Metaphor"}}

14. Circular Couplings in Cinematographic Constructions

14. Circular Couplings in Cinematographic Constructions

{"title":{"xml:lang":"en","content":"14. Circular Couplings in Cinematographic Constructions"}}

15. The Motion

{"title":{"xml:lang":"en","content":"15. The Motion"}}

16. The Narrative Roles

{"title":{"xml:lang":"en","content":"16. The Narrative Roles"}}

17. The Conceptual Domains of Film Analysis

17. The Conceptual Domains of Film Analysis

{"title":{"xml:lang":"en","content":"17. The Conceptual Domains of Film Analysis"}}

References

{"title":{"xml:lang":"en","content":"References"}}

Film index

{"title":{"xml:lang":"en","content":"Film index"}}

Terms index

{"title":{"xml:lang":"en","content":"Terms index"}}

Dr. Habil. Mircea Valeriu Deaca University of Bucharest, Department of History, Department of Ancient History, Archaeology and History of Art E-mail: <A href="mailto:mvdeaca@gmail.com">mvdeaca@gmail.com</A>

The aim of the present study is theoretical. The question set up for examination is whether there is a cognitive model that underpins human sense-making in the context of film experience. The conceptual resources provided by Cognitive grammar (as elaborated by Ronald W. Langacker), the recent developments of the neuroscience of emotions (as advocated by Lawrence Barsalou, Lisa Feldman Barrett, and Giovanna Colombetti), the theory of attention advocated by Michael S. A.

The aim of the present study is theoretical. The question set up for examination is whether there is a cognitive model that underpins human...

1. Cognitive Grammar Notions - The Control Cycle in Film

Title

1. Cognitive Grammar Notions

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