This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed that the (...) concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches. (shrink)

Cognitive research on Ego-Reference-Point models of time in English traditionally shows that “FUTURE IS IN FRONT OF EGO” and “PAST IS IN BACK OF EGO.” Recently, however, this view has been challenged by other results, showing that there exists a major static model of time wherein “FUTURE IS IN BACK OF EGO” and “PAST IS IN FRONT OF EGO.” However, evidence for both conceptual systems comes predominantly from linguistic and gestural forms of expression. For instance, convincing empirical evidence coming from (...) the manifestation mode of cinema is still lacking. This article attempts to fill this gap by bringing the discussion of temporal metaphors to the foreground of character subjectivity in film. Using concise case-studies taken from various films, this study provides evidence that a majority of flashback scenes seem to base their conceptions of time on a static Ego-Reference-Point model in which the past appears to be in front of the character’s eyes on screen. (shrink)

The embodied cognition thesis claims that cognitive functions cannot be understood without making reference to the interactions between the brain, the body, and the environment. The meaning of abstract concepts is grounded in concrete experiences. This book is the first edited volume to explore the impact of the embodied cognition thesis on the scientific study of film. A team of scholars analyse the main aspects of film (narrative, style, music, sound, time, the viewer, emotion, perception, ethics, the frame, etc.) from (...) an embodied perspective. By combining insights from various disciplines such as cognitive film theory, conceptual metaphor theory, and cognitive neuroscience, they show how the process of meaning-making in film is embodied and how empathy and embodied simulation play a role in understanding the way in which the viewer interacts with the film. (shrink)

ABSTRACTThis article aims to show how the metaphorical and metonymical portrayal of character perception in film can give rise to two distinct but interrelated percepts of causality in the viewer, namely the percept that the viewer sees that an object perceived by a character causes the character’s perception of that object and the percept that the viewer sees that character perception in turn causes a change of state in the perceiving character’s mind. We start our discussion with a brief epistemological (...) overview. Thereby two questions are central: How do people conceptualize perception and causality? and When do people perceive causality in perception? Answers will be given, respectively, by considering insights from cognitive linguistics and experimental psychology. In the next section, then, we bring the theoretical discussion to the foreground of Film Studies by showing how the conceptual solutions, as suggested in the prior part, can manifest themselves i... (shrink)