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Spatial Representation in Cognitive Science and Film

Spatial Representation in Cognitive Science and Film Levin and Simons (2000) argued that perceptual experience in film and the real world share a deep similarity in that both rely on inferences that visual properties are stable across views. This article argues that the perception and representation of visual space also reveal deep commonalities between film and the real world. The article reviews psychological research on visual space that suggests that we not only attend to similar spatial cues both in film and in nonmediated settings, but also that the rules for combining and selecting among these cues are similar. In exploring these links, it becomes clear that there is a bidirectional relationship between cognitive psychology and film editing that allows each to provide important insights about the other. Keywords: cognitive development, intentionality, representation, spatial cognition, spatial memory There are several moments during the film Drugstore Cowboy (1989) in which we are surprised to see an extreme close-up of some object. In one scene, Bob, the main character, receives a beating from the police. In the midst of a relatively conventional set of reverse angles, we suddenly see an extreme close-up of the knot of a police officer’s tie. In a scene in a hospital, after http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Projections Berghahn Books

Spatial Representation in Cognitive Science and Film

Projections , Volume 3 (1) – Jun 1, 2009

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References (67)

Publisher
Berghahn Books
Copyright
© 2022 Berghahn Books
ISSN
1934-9688
eISSN
1934-9696
DOI
10.3167/proj.2009.030103
Publisher site
See Article on Publisher Site

Abstract

Levin and Simons (2000) argued that perceptual experience in film and the real world share a deep similarity in that both rely on inferences that visual properties are stable across views. This article argues that the perception and representation of visual space also reveal deep commonalities between film and the real world. The article reviews psychological research on visual space that suggests that we not only attend to similar spatial cues both in film and in nonmediated settings, but also that the rules for combining and selecting among these cues are similar. In exploring these links, it becomes clear that there is a bidirectional relationship between cognitive psychology and film editing that allows each to provide important insights about the other. Keywords: cognitive development, intentionality, representation, spatial cognition, spatial memory There are several moments during the film Drugstore Cowboy (1989) in which we are surprised to see an extreme close-up of some object. In one scene, Bob, the main character, receives a beating from the police. In the midst of a relatively conventional set of reverse angles, we suddenly see an extreme close-up of the knot of a police officer’s tie. In a scene in a hospital, after

Journal

ProjectionsBerghahn Books

Published: Jun 1, 2009

Keywords: cognitive development; intentionality; representation; spatial cognition; spatial memory

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