This essay examines the motif of the upside-down image in cinema and focuses on the perceptual and cognitive activity of the spectator. In the first (theoretical) part, I refer to Maurice Merleau-Ponty discussion of psychological experiments on retinal inversion and describe the dynamic disembodiment/re-embodiment as a way of providing the spectator both the thrill of unbalance and the perceptual reorientation functional to the cognitive comprehension of the film. In the second (analytical) part, I analyse the formal and stylistic modes of representation of the upside-down image of the character in selected film scenes. In particular, I argue that the rotational camera movement is a filmic “gestures” that (dis)simulates the human bodily movement.

(2012). Upside-Down Cinema. (Dis)simulation of the body in the film experience [journal article - articolo]. In CINEMA. Retrieved from http://hdl.handle.net/10446/188686

Upside-Down Cinema. (Dis)simulation of the body in the film experience

D'Aloia, Adriano
2012-01-01

Abstract

This essay examines the motif of the upside-down image in cinema and focuses on the perceptual and cognitive activity of the spectator. In the first (theoretical) part, I refer to Maurice Merleau-Ponty discussion of psychological experiments on retinal inversion and describe the dynamic disembodiment/re-embodiment as a way of providing the spectator both the thrill of unbalance and the perceptual reorientation functional to the cognitive comprehension of the film. In the second (analytical) part, I analyse the formal and stylistic modes of representation of the upside-down image of the character in selected film scenes. In particular, I argue that the rotational camera movement is a filmic “gestures” that (dis)simulates the human bodily movement.
articolo
D'Aloia, Adriano
(2012). Upside-Down Cinema. (Dis)simulation of the body in the film experience [journal article - articolo]. In CINEMA. Retrieved from http://hdl.handle.net/10446/188686
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10446/188686
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