The ‘Good Form’ of Film
This article questions certain assumptions concerning film form made by the recent (neuro)psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of...
| Main Author: | |
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| Format: | Article |
| Language: | deu |
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Sciendo
2018-04-01
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| Series: | Gestalt Theory |
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| Online Access: | https://doi.org/10.2478/gth-2018-0004 |
| _version_ | 1811272313048399872 |
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| author | Poulaki Maria |
| author_facet | Poulaki Maria |
| author_sort | Poulaki Maria |
| collection | DOAJ |
| description | This article questions certain assumptions concerning film form made by the recent (neuro)psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. |
| first_indexed | 2024-04-12T22:37:59Z |
| format | Article |
| id | doaj.art-391c87a06e004160a0c271d42d5b8cde |
| institution | Directory Open Access Journal |
| issn | 2519-5808 |
| language | deu |
| last_indexed | 2024-04-12T22:37:59Z |
| publishDate | 2018-04-01 |
| publisher | Sciendo |
| record_format | Article |
| series | Gestalt Theory |
| spelling | doaj.art-391c87a06e004160a0c271d42d5b8cde2022-12-22T03:13:48ZdeuSciendoGestalt Theory2519-58082018-04-01401294310.2478/gth-2018-0004The ‘Good Form’ of FilmPoulaki Maria0Department of Music and Media, University of Surrey, GU2 7XHGuildford, UKThis article questions certain assumptions concerning film form made by the recent (neuro)psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly.https://doi.org/10.2478/gth-2018-0004continuityfilmneurocinematicsarnheimgestalt |
| spellingShingle | Poulaki Maria The ‘Good Form’ of Film Gestalt Theory continuity film neurocinematics arnheim gestalt |
| title | The ‘Good Form’ of Film |
| title_full | The ‘Good Form’ of Film |
| title_fullStr | The ‘Good Form’ of Film |
| title_full_unstemmed | The ‘Good Form’ of Film |
| title_short | The ‘Good Form’ of Film |
| title_sort | good form of film |
| topic | continuity film neurocinematics arnheim gestalt |
| url | https://doi.org/10.2478/gth-2018-0004 |
| work_keys_str_mv | AT poulakimaria thegoodformoffilm AT poulakimaria goodformoffilm |