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The Empathic ScreenCinema and Neuroscience$
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Vittorio Gallese and Michele Guerra

Print publication date: 2019

Print ISBN-13: 9780198793533

Published to Oxford Scholarship Online: November 2019

DOI: 10.1093/oso/9780198793533.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 September 2021

Embodied Simulation

Embodied Simulation

A New Model of Perception

Chapter:
(p.1) 1 Embodied Simulation
Source:
The Empathic Screen
Author(s):

Vittorio Gallese

Michele Guerra

, Frances Anderson
Publisher:
Oxford University Press
DOI:10.1093/oso/9780198793533.003.0001

This chapter provides the key neuroscientific data that enable the reader to follow the case studies. The subheadings are “Cinema, brain and empathy,” in which the reception of film is discussed, and the notion of empathy is introduced with an outline of its history; “Body, brain and neuroscience,” provides a critical account of neuroscience and details of the specific approach used; “From classic cognitivism to embodied cognition,” discusses two mainstream approaches to social cognition, classic cognitivism, and evolutionary psychology; “Motor cognition: Movements and motor goals,” explains why and how the cognitive role of the motor system and its role in visual perception should be reconceived; “Motor cognition: Area F4 and peri-personal space,” provides evidence for the role of the motor system in mapping space; “Motor cognition: Canonical neurons and objects ‘close to hand’,” discusses canonical neurons and their role in object perception; “Motor cognition: Mirror neurons and mirroring mechanisms,” introduces mirror neurons in macaques and mirror mechanisms in humans, and outlines their role in social perception; “Emotions, sensations and embodied simulation,” describes the role of embodied simulation in the perception of the emotions and sensations of others; “The person as a corporeal form between the real world and the world of fiction: Liberated simulation,” introduces the aesthetic specificity of the visual perception model with an explanation of how it could be applied to film viewing in particular and more generally to fiction; and “Brain–body and cinema,” discusses how neuroscience has been applied to the study of film and cinema.

Keywords:   Areas F4 and F5, canonical neurons, cinema, cognitivism, embodied simulation, emotions, empathy, mirror neurons, motor cognition, peri-personal space

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