Abstract
The cut, conceptualized as articulator of the filmic fact and as a sense-generating agent, constitutes the nuclear occupation of the most incipient film theory. From the texts and experiences of Eisenstein, Vertov or Kuleshov, to the theoretical debate focused on the construction of the film discourse and its structuring through the cut in the work of theorists such as Burch, Mitry, Oudart, Miller or Deleuze, the attempts to unravel the cut have always been either speculative, aesthetic or strictly technical proposals. Today, thanks to the contributions of neurocinematics, we have a new methodological access to the analysis of the cut. This presentation is based on electroencephalographic records collected over the course of a four-month fieldwork at the University of Aalborg’s Cognition Lab with a sample of 21 participants. The neuronal activity of spectators experiencing the cut was subjected to in-depth analysis through the study of the Event-Related Desynchronization/Synchronization of the EEG rhythms. What is presented here is the conjunction of the results obtained in the laboratory with the analytical tradition that is the foundation of the nuclear concepts of the cinematographic theoretical corpus such as the interval, découpage or suture.
Author Information
Javier Sanz, Universitat de Barcelona, Spain
Juan José Caballero, Universitat de Barcelona, Spain
Carlos Aguilar, Universitat de Barcelona, Spain
Lydia Sánchez, Universitat de Barcelona, Spain
Paper Information
Conference: EuroMedia2019
Stream: Film Criticism and Theory
This paper is part of the EuroMedia2019 Conference Proceedings (View)
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