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Corpo a corpo. Simulazione incarnata e naturalizzazione dell’esperienza filmica
Titolo Rivista: PSICOBIETTIVO 
Autori/Curatori: Vittorio Gallese, Michele Guerra 
Anno di pubblicazione:  2014 Fascicolo: Lingua: Italiano 
Numero pagine:  22 P. 156-177 Dimensione file:  1173 KB
DOI:  10.3280/PSOB2014-001012
Il DOI è il codice a barre della proprietà intellettuale: per saperne di più:  clicca qui   qui 


Recenti scoperte neuroscientifiche, tra cui quella dei neuroni specchio, hanno fortemente influenzato il dibattito sulla cognizione spaziale, l’azione, le emozioni e l’empatia, tutti aspetti recentemente riconsiderati dagli studi sul film. Questo articolo si concentra sul ruolo che la teoria della simulazione incarnata - elaborata a partire dalla scoperta dei neuroni specchio - svolge nell’esperienza filmica. È stato proposto che la simulazione incarnata costituisca un meccanismo funzionale di base del cervello umano. Grazie ad un formato rappresentazionale corporeo condiviso, mappiamo le azioni altrui sulle nostre rappresentazioni motorie. Ci chiediamo quanto questo meccanismo sia rilevante per l’esperienza filmica, riconsiderando sia le teorie classiche che quelle più recenti sul film che in qualche modo hanno anticipato la simulazione incarnata. Vaglieremo la nostra ipotesi attraverso l’analisi stilistica di due sequenze tratte da Notorius di Alfred Hitchcock e Il grido di Michelangelo Antonioni.


Keywords: Antonioni; Hitchcock; neuroni specchio; simulazione incarnata; stile cinematografico

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  1. Daniel Jerónimo Tobón, The Palgrave Handbook of the Philosophy of Film and Motion Pictures pp. 865 (ISBN:978-3-030-19600-4)

Vittorio Gallese, Michele Guerra, in "PSICOBIETTIVO" 1/2014, pp. 156-177, DOI:10.3280/PSOB2014-001012

   

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