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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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Introduction to Part II

Introduction to Part II

The PECMA Flow

Chapter:
(p.145) Introduction to Part II
Source:
Embodied Visions
Author(s):

Torben Grodal

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195371314.003.0007

The introduction to Part II discusses how knowledge of the brain’s processing of information provides crucial insight into central phenomena in visual aesthetics, especially in film aesthetics, and provides a general theory of film aesthetics. Central is the description of what the author calls the PECMA flow, an abbreviation for perception, emotion, cognition, and motor action, which describes the normal flow of information in real life and when watching film. The chapter analyzes how different types of film input may focus the film experience on different steps/brain regions: abstract film is focused on visual cortex processes, lyrical films on processes in the temporal and parietal cortices, and narrative films on frontal parts of the brain. The chapter analyses how and why these different foci provide different aesthetic experiences. The chapter also discusses how cultural and individual factors may influence and modify the innate biological factors.

Keywords:   neuroaesthetics, genre theory, film aesthetics, cognitive film theory, PECMA flow, fiction

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