Seeing Pictures

2019 ◽  
pp. 3-21
Author(s):  
Sarah Cooper
Keyword(s):  
Mental Imagery ◽  
Film Studies ◽  
Film Theory ◽  
Mental Image ◽  
Mental Images ◽  
Silent Cinema ◽  
Entire Study ◽  
Set Up ◽  
Introductory Discussion ◽  
The Mind

This opening chapter serves to introduce the principal focus of the book, which explores the felt experience of mental image-making while watching film. The introductory discussion positions the book first of all in relation to cognitivist work on imagination within film studies and points to the gap in scholarship on spectatorship regarding the experience of the image-making capacity of the imagination, situating it within a broader debate on mental imagery. The chapter engages with film theory and philosophy that anticipates the kind of image-making that will be focused on throughout the book and introduces what it means to imagine in images. It also justifies the book’s concentration on sound rather than silent cinema, since the verbal dimension and soundtracks are crucial to the kind of direction that produces the most vivid mental images, and the verbal dimension in particular permits introduction of the work of Elaine Scarry on guided imagining. It is the vivacity of such mental images that this first chapter outlines. In conceptual terms, this chapter and the following chapter serve to set up the key notion of ‘dual vision’ – of seeing what is on screen and ‘seeing’ what is in the mind – that informs the entire study.

Brain Activity Underlying Mental Imagery: Event-related Potentials During Mental Image Generation

1989 ◽  
Vol 1 (4) ◽  
pp. 302-316 ◽  
Author(s):  
Martha J. Farah ◽  
Lauren L. Weisberg ◽  
Mark Monheit ◽  
Franck Peronnet
Keyword(s):  
Mental Imagery ◽  
Time Course ◽  
Brain Activity ◽  
Hemispheric Specialization ◽  
Mental Image ◽  
Event Related Potentials ◽  
Image Generation ◽  
Mental Images ◽  
Related Potentials ◽  
Modality Specificity

This article addresses two issues about the neural bases of mental imagery. The first issue concerns the modality-specificity of mental images, that is, whether or not they involve activity in visual areas of the brain. The second issue concerns hemispheric specialization for the generation of mental images. We compared event-related potentials recorded under two conditions: one in which subjects were shown words and asked to read them and one in which subjects were shown words and asked to read them and generate visual mental images of the words' referents. Imagery caused a slow, late positivity, maximal at the occipital and posterior temporal regions of the scalp, relative to the comparison condition, and consistent with the involvement of modality-specific visual cortex in mental imagery. Also noted was an asymmetry in the imagery-related ERP, consistent with left-hemisphere specialization for mental image generation. Similar results were obtained when subjects listened to auditorily presented words with and without instructions to generate mental images. To assess the specificity of the relation between these ERP effects and mental imagery, we compared the ERP changes brought about by imaging with those brought about by another effortful task using the same stimulus words: proofreading the words for occasional misspellings. This produced changes that differed in polarity, time course, and scalp distribution from the imagery-related changes.

scholarly journals Pelatihan Karakter Building Dan Mental Imagery Bagi Atlit PPLP Sumatera Barat

2019 ◽  
Vol 1 (1) ◽  
pp. 13-20
Author(s):  
Nurul Ihsan ◽  
Syahrastani Syahrastani
Keyword(s):  
Mental Imagery ◽  
Mental Image ◽  
Mental Training ◽  
Cognitive Component ◽  
The Mind ◽  
Mental Characteristics ◽  
Athlete Performance

Character is a process that is continuously carried out to form, character, character, and mental characteristics that are based on the spirit of devotion and togetherness. Fostering characters that display conducive characters in social, national and state life based on the values ​​of the Pancasila philosophy. Mental image is the ability of humans to imagine images in the mind after the original stimuli can no longer be seen. This cognitive component is one of the ways that help factors in existing memories and thoughts. This component provides explanations to help translate the concepts introduced. Every athlete is always confronted with a variety of discussions about achievement, but not all talks and related achievements are supported by various factors not only technical and physical but also the character and mental. This is intended so that everyone has a strong character and also has a good mentality when competing. However, not all athletes have this, so there is a need to develop character and mental training for the athletes that are needed to be used to improve athlete performance.

Evaluating the Mind’s Eye

2011 ◽  
Vol 22 (12) ◽  
pp. 1535-1542 ◽  
Author(s):  
Joel Pearson ◽  
Rosanne L. Rademaker ◽  
Frank Tong
Keyword(s):  
Individual Differences ◽  
Mental Imagery ◽  
Binocular Rivalry ◽  
Catch Trial ◽  
Mental Image ◽  
Perceptual Bias ◽  
Self Report ◽  
Entire Study ◽  
Demand Characteristics ◽  
Mind's Eye

Can people evaluate phenomenal qualities of internally generated experiences, such as whether a mental image is vivid or detailed? This question exemplifies a problem of metacognition: How well do people know their own thoughts? In the study reported here, participants were instructed to imagine a specific visual pattern and rate its vividness, after which they were presented with an ambiguous rivalry display that consisted of the previously imagined pattern plus an orthogonal pattern. On individual trials, higher ratings of vividness predicted a greater likelihood that the imagined pattern would appear dominant when the participant was subsequently presented with the binocular rivalry display. Off-line self-report questionnaires measuring imagery vividness also predicted individual differences in the strength of imagery bias over the entire study. Perceptual bias due to mental imagery could not be attributed to demand characteristics, as no bias was observed on catch-trial presentations of mock rivalry displays. Our findings provide novel evidence that people have a good metacognitive understanding of their own mental imagery and can reliably evaluate the vividness of single episodes of imagination.

scholarly journals Why the Days Seem Shorter as We Get Older

2019 ◽  
Vol 27 (02) ◽  
pp. 187-194 ◽  
Author(s):  
Adrian Bejan
Keyword(s):  
Body Size ◽  
Mental Image ◽  
Human Mind ◽  
Physical Basis ◽  
Clock Time ◽  
Mental Images ◽  
Sensory Organs ◽  
Constructal Law ◽  
The Mind ◽  
Physical Features

Why does it feel that the time passes faster as we get older? What is the physical basis for the impression that some days are slower than others? Why do we tend to focus on the unusual (the surprise), not on the ever present? This article unveils the physics basis for these common observations. The reason is that the measurable ‘clock time’ is not the same as the time perceived by the human mind. The ‘mind time’ is a sequence of images, i.e. reflections of nature that are fed by stimuli from sensory organs. The rate at which changes in mental images are perceived decreases with age, because of several physical features that change with age: saccades frequency, body size, pathways degradation, etc. The misalignment between mental-image time and clock time serves to unite the voluminous observations of this phenomenon in the literature with the constructal law of evolution of flow architecture, as physics.

scholarly journals Return to Reality: Towards A More Tactile Cognition of Film Theory

2012 ◽  
Vol 1 (2) ◽  
pp. 1-2
Author(s):  
Murat Akser
Keyword(s):  
Film Studies ◽  
Film Theory ◽  
Tactile Sense ◽  
The Real ◽  
The Senses ◽  
The Mind

Film theory has lost itself in the woods among debates of the mind and the senses. Ther are those who are interested in a more tactile sense of the real in film studies. This issue of CINEJ focuses on the documentary truth and how it aims to present us a real and a better world.

Deleuze and Lola Montès

2020 ◽  
Author(s):  
Richard Rushton
Keyword(s):  
Gilles Deleuze ◽  
Film Studies ◽  
Film Theory ◽  
World Today ◽  
Film Interpretation ◽  
The World ◽  
Time Image

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

scholarly journals A STUDY ON THE CHARACTERISTICS OF MR. WILLY WONKA THAT SET UP THE STAGES OF THE GOLDEN TICKET CHILDREN IN ROALD DAHL'S CHARLIE AND CHOCOLATE FACTORY

Lexicon ◽  
2014 ◽  
Vol 1 (1) ◽  
Author(s):  
Bawono Sudewo ◽  
Aris Munandar
Keyword(s):  
Present Writer ◽  
Know How ◽  
Good Action ◽  
Set Up ◽  
Chocolate Factory ◽  
The Mind

The goal of this graduating paper is to know how the unconsciousness minds and habits linking to each other. It discusses the mind that triggers characters behavior in the Charlie and Chocolate Factory. The writer focuses on the children who get the golden tickets and the owner of the Chocolate Factory (Mr. Willy Wonka).According to Willbur S Scott with his Psychoanalysis Theory on Fictitious Characters, he stated that we can look further about the pattern which motivates the character to express something. It helps the present writer to analyze deeper, by identifying the showed which were done by the children in Roald Dahl’s Charlie and Chocolate Factory.After carying out the research, it shows that their (the five lucky children and Mr. Willy Wonka) subconscious mind triggers bad action which expelled the children from the chocolate factory and good action which made Charlie the champion.

Mental Imagery in Athletes with Visual Impairments

2003 ◽  
Vol 20 (4) ◽  
pp. 347-368 ◽  
Author(s):  
Kate A.T. Eddy ◽  
Stephen D. Mellalieu
Keyword(s):  
Visual Impairment ◽  
Mental Imagery ◽  
Qualitative Interviews ◽  
Visual Impairments ◽  
Psychological Interventions ◽  
Mental Images ◽  
Sensory Modalities

The purpose of this study was to investigate imagery experiences in performers with visual impairments. Structured, in-depth, qualitative interviews were conducted with six elite goalball athletes regarding the processing and use of mental images in training and competition. Interview transcripts were analyzed using deductive and inductive procedures and revealed four general dimensions describing the athletes’ uses of imagery. Participants reported using imagery for cognitive and motivational purposes in both training and competition. Imagery was also suggested to be utilized from an internal perspective with the processing of images derived from a range of modalities. The findings suggest that visual impairment does not restrict the ability to use mental imagery and that psychological interventions can be expanded to include the use of all the athletes’ sensory modalities.

Does the Body Image Exist in Three Dimensions? The Study of Visual Mental Representation of a Body and a Nonbody Object

2001 ◽  
Vol 92 (1) ◽  
pp. 223-233
Author(s):  
D. P. McCabe ◽  
D. I. Ben-Tovim ◽  
M. K. Walker ◽  
D. Pomeroy
Keyword(s):  
Spatial Information ◽  
Mental Image ◽  
The Body ◽  
Three Dimensions ◽  
Long Term Memory ◽  
Depth Information ◽  
Mental Images ◽  
Term Memory ◽  
3 Dimensional

Do the mental Images of 3-dimensional objects recreate the depth characteristics of the original objects' This investigation of the characteristics of mental images utilized a novel boundary-detection task that required participants to relate a pair of crosses to the boundary of an image mentally projected onto a computer screen. 48 female participants with body attitudes within expected normal range were asked to image their own body and a familiar object from the front and the side. When the visual mental image was derived purely from long-term memory, accuracy was better than chance for the front (64%) and side (63%) of the body and also for the front (55%) and side (68%) of the familiar nonbody object. This suggests that mental images containing depth and spatial information may be generated from information held in long-term memory. Pictorial exposure to views of the front or side of the objects was used to investigate the representations from which this 3-dimensional shape and size information is derived. The results are discussed in terms of three possible representational formats and argue that a front-view 2½-dimensional representation mediates the transfer of information from long-term memory when depth information about the body is required.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Jordan Schonig
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Film Theory ◽  
Gestalt Psychology ◽  
Film Criticism ◽  
Philosophical Intuition ◽  
History Of ◽  
Generic Structures ◽  
Temporal Flow ◽  
Film Form

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

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