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Embodied VisionsEvolution, Emotion, Culture and Film$
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Torben Grodal

Print publication date: 2009

Print ISBN-13: 9780195371314

Published to Oxford Scholarship Online: May 2009

DOI: 10.1093/acprof:oso/9780195371314.001.0001

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Conclusion

Conclusion

The Gene-Culture Stream and Bioculturalism

Chapter:
(p.271) 12 Conclusion
Source:
Embodied Visions
Author(s):

Torben Grodal

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195371314.003.0013

This chapter contains an overview of the central findings of the book and provides additional perspectives on bioculturalism and the dynamic interaction between biology and culture. It summarizes how concrete embodiment and brain architecture, including the PECMA flow, molds central features of films, and discusses the interaction between universal forms controlled by deep-seated dispositions and the unlimited number of possible cultural variations made possible by innate dispositions. It discusses how and why films are made not only to provide pleasure, but also to activate hazard precaution and support bonding, as in sad melodramas and comic fictions, just as fictions are part of mechanisms that enhance insights into possible scenarios, vital for existential flexibility. It equally discusses why love for unique configurations in the individual films must be counterbalanced with a dedication to reductionism and to understanding what is universal in films.

Keywords:   bioculturalism, embodiedness, film and culture, film genre, evolution, universals in film, film emotions

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