Search results for 'Redemption in motion pictures' (try it on Scholar)

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  1. Sam B. Girgus (2010). Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine / Sam B. Girgus. Columbia University Press.score: 516.0
    Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura (...)
     
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  2. Douglas P. Newton (2006). Showing Movement in Children's Pictures: A Study of the Effectiveness of Some Non‐Mimetic Representations of Motion. Educational Studies 10 (3):255-261.score: 486.0
    (1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.
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  3. Bonnie L. Angelone, Daniel T. Levin & Daniel J. Simons (2003). The Relationship Between Change Detection and Recognition of Centrally Attended Objects in Motion Pictures. Perception 32 (8):947-962.score: 438.8
  4. Gadi Algazi (2008). Norbert Elias's Motion Pictures: History, Cinema and Gestures in the Process of Civilization. Studies in History and Philosophy of Science Part A 39 (3):444-458.score: 436.5
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  5. Elizabeth C. Hirschman (2001). Legends in Our Own Time: How Motion Pictures and Television Shows Fulfill the Functions of Myth. American Journal of Semiotics 17 (3):7-46.score: 427.5
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  6. Susan Ingram (2006). Music in Narrative Film. On Motion and Stasis : Photography, "Moving Pictures," Music / David Neumeyer, Laura Neumeyer ; the Topos of "Evil Medieval" in American Horror Film Music / James Deaville ; la Leggenda Del Pianista Sull'oceano : Narration, Music, and Cinema / Rosa Stella Cassotti ; Music in Aki Kaurismäki's Film the Match Factory Girl / Erkki Pekkilä ; It's a Little Bit Funny : Moulin Rouge's Sparkling Postmodern Critique. In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.score: 405.0
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  7. Russell J. A. Kilbourn (2010). Cinema, Memory, Modernity: The Representation of Memory From the Art Film to Transnational Cinema. Routledge.score: 288.0
    Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and narrative recursivity (...)
     
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  8. Patricia Pisters (2003). The Matrix of Visual Culture: Working with Deleuze in Film Theory. Stanford University Press.score: 229.5
    This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage (...)
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  9. Robert B. Pippin (2011). Fatalism in American Film Noir: Some Cinematic Philosophy. University of Virginia Press.score: 229.5
    Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.
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  10. Keith M. Harris (2006). Boys, Boyz, Bois: An Ethics of Black Masculinity in Film and Popular Media. Routledge.score: 229.5
    Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...)
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  11. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 229.5
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  12. Thomas S. Hibbs (2011). Shows About Nothing: Nihilism in Popular Culture. Baylor University Press.score: 229.5
    Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.
     
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  13. Jaimey Fisher & Barbara Caroline Mennel (eds.) (2010). Spatial Turns: Space, Place, and Mobility in German Literary and Visual Culture. Rodopi.score: 220.5
    Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...
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  14. Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.score: 220.5
    Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...
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  15. Vera Apfelthaler & Julia Köhne (eds.) (2007). Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.score: 220.5
     
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  16. Lauren Gail Berlant (2008). The Female Complaint: The Unfinished Business of Sentimentality in American Culture. Duke University Press.score: 220.5
    Poor Eliza -- Pax Americana : the case of Show boat -- National brands, national body : Imitation of life -- Uncle Sam needs a wife : citizenship and denegation -- Remembering love, forgetting everything else : Now, voyager -- "It's not the tragedies that kill us, it's the messes" : femininity, formalism, and Dorothy Parker -- The compulsion to repeat femininity : Landscape for a good woman and The life and loves of a she-devil.
     
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  17. Remo Danovi (2010). Processo Al Buio: Lezioni di Etica in Venti Film. Rizzoli.score: 220.5
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  18. Matthew Gumpert (2012). The End of Meaning: Studies in Catastrophe. Cambridge Scholars Pub..score: 220.5
     
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  19. Thomas S. Hibbs (1999). Shows About Nothing: Nihilism in Popular Culture From the Exorcist to Seinfeld. Spence Pub..score: 220.5
     
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  20. Gertrud Koch (ed.) (2010). Perspektive--Die Spaltung der Standpunkte: Zur Perspektive in Philosophie, Kunst Und Recht. Wilhelm Fink.score: 220.5
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  21. Andreas Krass (ed.) (2009). Queer Studies in Deutschland: Interdisziplinäre Beiträge Zur Kritischen Heteronormativitätsforschung. Trafo.score: 220.5
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  22. Juhani Pallasmaa (2001). The Architecture of Image: Existential Space in Cinema. Rakennustieto.score: 220.5
     
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  23. J. Remes (2012). Motion(Less) Pictures: The Cinema of Stasis. British Journal of Aesthetics 52 (3):257-270.score: 216.0
    While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.
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  24. Noël Carroll (2008). The Philosophy of Motion Pictures. Blackwell Pub..score: 216.0
    Philosophy of Motion Pictures is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
     
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  25. Alix Mazuet (ed.) (2012). Imaginary Spaces of Power in Sub-Saharan Literatures and Films. Cambridge Scholars Publishing.score: 216.0
     
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  26. Richard Allen (2001). Looking at Motion Pictures (Revised) [. Film-Philosophy 5 (1).score: 211.5
    I shall begin this essay by sketching some Wittgenstein-influenced arguments as to why the causal theory of perception is inadequate. However my main concern is to explore the ramifications for pictorial perception of understanding perception in terms of the causal theory. When 'our ordinary notion of perceiving' is characterized in terms of the existence of a causal connection between an object perceived and our sensory experience of that object the case of pictorial perception generates a paradox.
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  27. Harold T. Nefs, Louise O'Hare & Julie M. Harris (2010). Two Independent Mechanisms for Motion-In-Depth Perception: Evidence From Individual Differences. Frontiers in Psychology 1:155-155.score: 198.0
    Our forward-facing eyes allow us the advantage of binocular visual information: using the tiny differences between right and left eye views to learn about depth and location in three dimensions. Our visual systems also contain specialized mechanisms to detect motion-in-depth from binocular vision, but the nature of these mechanisms remains controversial. Binocular motion-in-depth perception could theoretically be based on first detecting binocular disparity and then monitoring how it changes over time. The alternative is to monitor the motion (...)
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  28. Ron Tobias (2011). Film and the American Moral Vision of Nature: Theodore Roosevelt to Walt Disney. Michigan State University Press.score: 193.5
    Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.
     
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  29. Henri G. Colt, Silvia Quadrelli & Lester D. Friedman (eds.) (2011). The Picture of Health: Medical Ethics and the Movies. Oxford University Press.score: 190.5
    This volume presents a collection of about 80 very brief, accessible essays written by international experts from medicine, social sciences, and the humanities, ...
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  30. Marina White Anne Schlottmann, Katy Cole, Rhianna Watts (2013). Domain-Specific Perceptual Causality in Children Depends on the Spatio-Temporal Configuration, Not Motion Onset. Frontiers in Psychology 4.score: 190.0
    Humans, even babies, perceive causality when one shape moves briefly and linearly after another. Motion timing is crucial in this and causal impressions disappear with short delays between motions. However, the role of temporal information is more complex: It is both a cue to causality and a factor that constrains processing. It affects ability to distinguish causality from non-causality, and social from mechanical causality. Here we study both issues with 3- to 7-year-olds and adults who saw two computer-animated squares (...)
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  31. Richard Brown & Kevin S. Decker (eds.) (2009). Terminator and Philosophy: I'll Be Back, Therefore I Am. John Wiley & Sons.score: 184.5
    Time travelers and battles between people and machines provoke old philosophical questions: Can the past really be changed? How do we differentiate ourselves from machines? Can machines have an inner life? Brown (philosophy & critical thinking, LaGuardia Community Coll.) and Decker (philosophy, Eastern Washington Univ.; coeditor, Star Wars and Philosophy ) collect 19 essays by primarily young academics who pursue these questions with entertaining verve and philosophical skill. The Terminator story is about something well intentioned—a defense project—going wrong, but none (...)
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  32. Paisley Livingston (2009). Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford University Press.score: 184.5
    The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...)
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  33. Paul Coates (1994). Film at the Intersection of High and Mass Culture. Cambridge University Press.score: 184.5
    At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and Georges (...)
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  34. Jean-Pierre Boulé & Enda McCaffrey (eds.) (2011). Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.score: 184.5
    At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of ...
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  35. Susannah Radstone (2007). The Sexual Politics of Time: Confession, Nostalgia, Memory. Routledge.score: 184.5
    The Sexual Politics of Time will be of interest tostudents and researchers of time, memory, difference and cultural change, in subjects such as Media and ...
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  36. Jenny Chamarette (2013). Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Palgrave Macmillan.score: 184.5
    Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.
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  37. Therese Davis (2004). The Face on the Screen: Death, Recognition and Spectatorship. Intellect Books.score: 184.5
    There was a time in screen culture when the facial close-up was a spectacular and mysterious image… The constant bombardment of the super-enlarged, computer-enhanced faces of advertising, the endless 'talking heads' of television and the ever-changing array of film stars' faces have reduced the face to a banal image, while the dream of early film theorists that the 'giant severed heads' of the screen could reveal 'the soul of man' to the masses is long since dead. And yet the end (...)
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  38. Catherine Constable (2009). Adapting Philosophy: Jean Baudrillard and the Matrix Trilogy. Manchester University Press.score: 184.5
    This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of the liveliness (...)
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  39. Josef Früchtl (2009). The Impertinent Self: A Heroic History of Modernity and Film. Stanford University Press.score: 184.5
    Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...)
     
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  40. Josef Früchtl (2009). The Impertinent Self: A Heroic History of Modernity. Stanford University Press.score: 184.5
    Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.
     
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  41. Markos Hadjioannou (2012). From Light to Byte: Toward an Ethics of Digital Cinema. University of Minnesota Press.score: 184.5
    Introduction. Going digital: cinema's new age -- The reality of the index, or where does the truth lie? -- Physical presences: reality, materiality, corporeality -- Spatial coordinates: in between celluloid strips and codified pixels -- Rediscovering cinematic time -- Tracing an ethics of the movie image -- Conclusion. change: a point of constant departure.
     
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  42. Lúcia Nagib (2011). World Cinema and the Ethics of Realism. Continuum International Pub. Group Inc.score: 184.5
    Introduction -- Physical cinema. The end of the other -- The immaterial difference : Werner Herzog revisited -- The reality of the medium. Conceptual realism in Land in trance and I am Cuba -- The work of art in progress : an analysis of delicate crime -- The ethics of desire. The realm of the senses, the ethical imperative and the politics of pleasure -- Hara and Kobayashi's "private documentaries" -- The self-performing auteur : ethics in João César Monteiro.
     
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  43. William C. Pamerleau (2009). Existentialist Cinema. Palgrave Macmillan.score: 184.5
    An exploration of the relationship between cinema and existentialism, in terms of their mutual ability to describe the human condition, this book combines analyses of topics in the philosophy of film with an exploration of specific existentialist themes expressed in the films of Fellini, Bergman and Woody Allen, among others.
     
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  44. Mark Rowlands (2003/2004). The Philosopher at the End of the Universe: Philosophy Explained Through Science Fiction Films. T. Dunne Books/St. Martin's Press.score: 184.5
    The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...)
     
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  45. Andrew Utterson (ed.) (2005). Technology and Culture, the Film Reader. Routledge.score: 184.5
    The relationship between cinema and technology is a complex and fascinating one. Andrew Utterson brings together key theoretical texts spanning more than a century of writing. He begins by investigating cinema as technology or as an interconnected series of technologies, then goes on to examine the technological history of cinema within a much broader context: as one element in a sustained period of technological expansion, cinematic or otherwise, and its impact on the wider world. Rather than seeing technologies in traditional (...)
     
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  46. Bruce Silver (1977). Reply to Professor Mirarchi's Force and Absolute Motion in Berkeley's Philosophy of Physics. Journal of the History of Ideas 38.score: 183.0
    Professor l a mirarchi argues, In his "force and absolute motion in berkeley's philosophy of physics" (_journal of the history of ideas, Volume 38, Pages 705-713), That I have misunderstood berkeley's treatment of inertial motion. I contend, Despite professor mirarchi's criticism, That while berkeley accepts the newtonian principle of inertia, He cannot accommodate it into his own radically contingent picture of the universe.
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  47. Igor I. Kondrashin (2008). The Motion in Quality as The Scientific Alternative to Ideas of Creationism. Proceedings of the Xxii World Congress of Philosophy 17:97-106.score: 183.0
    Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole only (...)
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  48. Shirley-Ann Rueschemeyer, Arthur M. Glenberg, Michael P. Kaschak, Karsten Mueller & Angela D. Friederici (2010). Top-Down and Bottom-Up Contributions to Understanding Sentences Describing Objects in Motion. Frontiers in Psychology 1:183-183.score: 180.0
    Theories of embodied language comprehension propose that the neural systems used for perception, action and emotion are also engaged during language comprehension. Consistent with these theories, behavioral studies have shown that the comprehension of language that describes motion is affected by simultaneously perceiving a moving stimulus (Kaschak et al., 2005). In two neuroimaging studies, we investigate whether comprehension of sentences describing moving objects activates brain areas known to support the visual perception of moving objects (i.e., area MT/V5). Our data (...)
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  49. Eugenie Roudaia, Allison B. Sekuler, Patrick J. Bennett & Robert W. Sekuler (2013). Aging and Audio-Visual and Multi-Cue Integration in Motion. Frontiers in Psychology 4.score: 177.0
    The perception of naturalistic events relies on the ability to integrate information from multiple sensory systems, an ability that may change with healthy aging. When two objects move toward and then past one another, their trajectories are perceptually ambiguous: the objects may seem to stream past one another or bounce off one another. Previous research showed that auditory or visual events that occur at the time of discs' coincidence could bias the percept toward bouncing or streaming. We exploited this malleable (...)
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  50. Michael Spivey Sarah E. Anderson, Teenie Matlock (2013). Grammatical Aspect and Temporal Distance in Motion Descriptions. Frontiers in Psychology 4.score: 177.0
    Grammatical aspect is known to shape event understanding. However, little is known about how it interacts with other important temporal information, such as recent and distant past. The current work uses computer-mouse tracking (Spivey, Grosjean, & Knoblich, 2005) to explore the interaction of aspect and temporal context. Participants in our experiment listened to past motion event descriptions that varied according to aspect (simple past, past progressive) and temporal distance (recent past, distant past) while viewing scenes with paths and implied (...)
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