<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>This paper engages with research on embodiment, cognition, and figurative meaning in cinema to develop a system for categorizing the cinematic cues that viewers use to gauge character affective experience. Many film theorists whose work is primarily focused on affective experience consider the relationship between the spectator and the character’s facial and bodily expressions. However, films often convey the affective states of characters by integrating bodily expressions with cinematic techniques, such as lighting, framing, and editing. These cinematic techniques can provide insight into a character’s affective states through their figurative associations with represented moods, feelings, and emotions. By exploring the metonymic, metaphoric, and similative properties of cinematic representations of affect, we can better understand how cinematic representations are understood by a community of viewers. Throughout this paper, I put forth the framework of “embodied affective cues” and identify behavioral, physical, and environmental cues to address how a character’s affective experience is represented by cinematic cues external to their body.</p>
</abstract>

This paper engages with research on embodiment, cognition, and figurative meaning in cinema to develop a system for categorizing the cinematic cues that viewers use to gauge character affective experience. Many film theorists whose work is primarily focused on affective experience consider the relationship between the spectator and the character’s facial and bodily expressions. However, films often convey the affective states of characters by integrating bodily expressions with cinematic techniques, such as lighting, framing, and editing. These cinematic techniques can provide insight into a character’s affective states through their figurative associations with represented moods, feelings, and emotions. By exploring the metonymic, metaphoric, and similative properties of cinematic representations of affect, we can better understand how cinematic representations are understood by a community of viewers. Throughout this paper, I put forth the framework of “embodied affective cues” and identify behavioral, physical, and environmental cues to address how a character’s affective experience is represented by cinematic cues external to their body.

Embodied Figuration and Character Emotion in Cinema: The Role of Embodied Affective Cues

Baltic Screen Media Review

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

This paper engages with research on embodiment, cognition, and figurative meaning in cinema to develop a system for categorizing the cinematic cues that...

Embodied Figuration and Character Emotion in Cinema: The Role of Embodied Affective Cues

Data publikacji: 21 gru 2023

Zakres stron: 106 - 127

DOI: https://doi.org/10.2478/bsmr-2023-0007

Słowa kluczowe
affect, affective experience, cinematic empathy, embodied affective cues, emotion concepts, figurative meaning, film, metonymy, simile

© 2023 Brad Jackson, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Embodied Figuration and Character Emotion in Cinema: The Role of Embodied Affective Cues

Data publikacji: 21 gru 2023

Zakres stron: 106 - 127

DOI: https://doi.org/10.2478/bsmr-2023-0007

Słowa kluczoweaffect, affective experience, cinematic empathy, embodied affective cues, emotion concepts, figurative meaning, film, metonymy, simile

© 2023 Brad Jackson, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Słowa kluczowe
affect, affective experience, cinematic empathy, embodied affective cues, emotion concepts, figurative meaning, film, metonymy, simile