Modeling Meta-Immersion for Cinematic New Narrative

Cognitive approaches to cinema comprise several proposals concerning the segmentation of the understanding of the flux of audiovisual stimuli in several conceptual domains. In this paper, we would like to develop a proposal for a cinematographic analysis inspired by the conceptual framework of cognitive linguistic approaches and neurosciences studies. The viewer / film critic can identify and delineate patterns describable as neurological processes or as phenomenological instantiations manifested in various conceptualization domains that can be isolated from other domains. The conceptualizations are determined by top-down schemas in various semantic domains, and by bottom-up cues on screen of semantic purport. The cinematic expressive structures that are formed with the help of cues allow the spectator to recognize and correct conceptual patterns within alternative conceptual domains. Cinematic expressions – diegetic mise-en-scene, frame composition, shot structure, and editing and stylistic patterns– are instantiations of construal, alternative manners of representing aspects of conceptual content. To the extent that a set of cues is predominately biased towards one domain or another, the viewer will categorize the conceptual content into one or more domains. The claim is that domains are like attractors that warp in a dynamic manner conceptual content towards a domain or another, and, as a consequence will warp and modulate other domains. Cues are not static clues, but represent procedural algorithms that the viewer puts into action in order to gain access to conceptual content. The domains analyzed are the prefigurative, the figurative, the diegetic, the symbolic, the narrative, the conceptualizer, the affective, and the discursive. Describing various bounded conceptual regions of conceptual content sustained by cinematic experience is a description of the brains' projection of an interior living film staged in a " Cartesian theatre " devoid of a secondary conscious homunculus. An overview of proposals for cinematic conceptual domains Cognitive approaches to cinema comprise several proposals concerning the dividing of the flow of audiovisual stimuli in several conceptual domains. The description and analysis of the audiovisual discourse invariably touches on some of those domains. Let us mention some of the recent approaches: 1. The Danish theoretician, Torben Grodal (1997: 57; 279), distinguishes between several neural processes that the cinemagoer undergoes, e.g. intense experience (the viewer's focus is oriented towards perceptual non-figurative processes), saturated experience (the focus is aimed at a figurative associative deaca@dnt.ro

2005

This report describes the transformation,of feature films into hypervideo,by representing their story structures using plot unties. Plot units represent cause-effect relationships between,characters’ affect states and the events in a story. We use plot

E-CineIndia, 2022

Cybernetic film theory unveils how meaning in the film is emergent and self-reflexively crafted by the makers and the audience. Though governed by a script, in most cases, directors have their ways of visualising the script, and cinematographers have a personal touch in framing, just as the editors have in pacing the film. Thus, a film is an environment where meaning is crafted by a collective with their personal touch. When films are viewed, audiences perceive them from their perspective, i.e., they assign meaning to the film. Therefore, meaning in film is constructive and emergent. With the development of perception-based film understanding evident in enactive cinema theory, the problem of film authorship, i.e., meaning construction in the film, has become an important area to research. The cybernetic film theory addresses the complexity of authorship in films by referring to film as an environment that is self-reflectively crafted, which audiences self-reflexively interpret.

digra.org

Crossing Boundaries in Culture and Communication. Topics in Cultural Studies. Elena Museanu (ed.). Department of Foreign Languages in partnership with the Department of Asian Studies of the Romanian-American University, 2017

Cognitive approaches to cinema comprise several proposals concerning the segmentation of the understanding of the flux of audiovisual stimuli in several conceptual domains. In this paper, we would like to develop a proposal for a cinematographic analysis inspired by the conceptual framework of cognitive linguistic approaches and neurosciences studies. The viewer / film critic can identify and delineate patterns describable as neurological processes or as phenomenological instantiations manifested in various conceptualization domains that can be isolated from other domains. The conceptualizations are determined by top-down schemas in various semantic domains, and by bottom-up cues on screen of semantic purport. The cinematic expressive structures that are formed with the help of cues allow the spectator to recognize and correct conceptual patterns within alternative conceptual domains. Cinematic expressions – diegetic mise-en-scene, frame composition, shot structure, and editing and stylistic patterns– are instantiations of construal, alternative manners of representing aspects of conceptual content. To the extent that a set of cues is predominately biased towards one domain or another, the viewer will categorize the conceptual content into one or more domains. The claim is that domains are like attractors that warp in a dynamic manner conceptual content towards a domain or another, and, as a consequence will warp and modulate other domains. Cues are not static clues, but represent procedural algorithms that the viewer puts into action in order to gain access to conceptual content. The domains analyzed are the prefigurative, the figurative, the diegetic, the symbolic, the narrative, the conceptualizer, the affective, and the discursive. Describing various bounded conceptual regions of conceptual content sustained by cinematic experience is a description of the brains' projection of an interior living film staged in a " Cartesian theatre " devoid of a secondary conscious homunculus.

2009

What is a game? In Xenogears, Squaresoft’s classic RPG for the Playstation, throughout its perhaps 50-80 hour gaming experience, one occasionally sits through 15 to even 30 minute cutscenes and conversations, essentially similar to anime or TV shows but provided as a means of story-telling within a game structure, paced in between exploration and fighting sequences. The game’s end is fixed, its story points are triggered by set cues and its sense of dramatic development follows the traditional narrative arch. In God of War II, an action adventure for PS2, the attention given to detail is stunning, almost overwhelming (sensory overload). The gigantic architecture of colossal pillars and temples is teeming with detail and, yes, life: critters, dust, dancing light particles and crackling walls. All this is accompanied by immersive sound effects and sonic spaces. Is it a movie or a game? The battle sequences, partially choreographed but largely free-roaming, provide ample space, too, fo...

'Narrative Complexity: Cognition, embodiment, evolution'. Grishakova, Marina & Poulaki Maria (eds.), University of Nebraska Press, pp. , 2019

Fictional cinematic worlds and spaces, either experiential reality or collective imaginary based ones, contribute to the construction of their characters towards a high level of transparency in the emotional discourses they convey. A character's personal space becomes the sum of all characters' personal, social and cultural spaces, an illusion that cinema creates by integrating props and costumes from interwoven environments, in a combination of similarities, contrasts, familiarity and novelty. Memories are alluded and, moreover, dreams of a far future come true, surprisingly involving the spectator in a dream-like reality, experienced like a real one. Dematerialization and the rising wish of the human being to sense out of body experiences, by visual, sonorous and tactile means, places cinema as an art that truly awakes our five senses. Now, more than ever, cinematic visual narratives and technological interfaces for augmented and virtual reality experiences influence each other, mutually boosting new advances and languages. By analyzing movies that comprise real or virtual ways of the fictional representation, such as Avatar, The Matrix, or Star Wars: Episode I-The Phantom Menace, we can interpret both tangible and intangible approaches to body in corresponding mise-en-scènes that sound out the mysteries of the brain and that stress the importance of costumes' somatic role in fictional dramas. Costumes bridge reality and fiction, past and future, space and subject, especially in movies with heroic characters who cross border between universes, clearly promoting intense emotional bonds with the spectator and his/her immersion in those plots.

2014

The dilemma of designing interactive narrative media is how to empower the participants to tell the author’s story from their own point of view, yet in a structured manner. We propose a solution by ...