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تبیین نوروفیلمولوژی به مثابه روشی در مطالعات سینمایی | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 14، دوره 10، شماره 1 - شماره پیاپی 19، خرداد 1404، صفحه 202-214 اصل مقاله (583.69 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.44897.1536 | ||
| نویسندگان | ||
| علی مهدی پور1؛ نادر شایگان فر* 2؛ عبدالرحمن نجل رحیم3؛ رضا خسروآبادی4 | ||
| 1دانشجوی دکتری پژوهش هنر،دانشکده‌پژوهش‌های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان | ||
| 2دانشیار گروه پژوهش هنر،دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان | ||
| 3استاد و متخصص مغز و اعصاب، نوروساینس | ||
| 4استادیار گروه مدل سازی کارکردهای عالی شناختی، پژوهشکده علوم شناختی و مغز، دامشگاه شهید بهشتی | ||
| چکیده | ||
| با گسترش دامنه‌ی علوم اعم از علوم تجربی، علوم انسانی و هنر، مرزهای مشخص میان حوزه های مطالعاتی مختلف کم رنگ شده و نیاز به استفاده از گستره های متفاوت شناختی برای کامل کردن مطالعات در هر رشته ای از علوم فزونی گرفته است. آنچه مرزهای مشخص میان علوم را پدید می‌آورد، تفاوت در روش‌شناسی است. به عبارت دیگر، هر یک از علوم با زاویه ای خاص جهان را مورد کنکاش قرار می دهند. امروزه استفاده از مطالعات بینارشته ای برای تحلیل موضوعات از زوایای مختلف کاربرد فراوانی یافته است. تحقیقات با حوزه‌ی مشترک میان علم و هنر را می توان یکی از مصادیق مؤثر مطالعات میان رشته ای قلمداد نمود. نوروفیلمولوژی از جمله به روزترین رویکردها در مطالعات بینارشته‌ای محسوب می‌شود؛ که میان علوم اعصاب شناختی، فلسفه‌ی ذهن و سینما به مثابه هفتمین هنر ارتباط برقرار نموده و امکان درک وسیع تر از هنر را میسر کرده است. از این رو، وجه مجهول مقاله حاضر در ارتباط با چگونگی استفاده از این رویکرد در مطالعات سینمایی تعریف می‌شود. در پیوستگی با این پرسش، هدف اصلی این مقاله، تبیین رویکرد نوروفیلمولوژی به عنوان رویکرد و روشی برای تحقیقات سینمایی است. نتیجه‌ی مقاله، مطالعه‌ی مخاطب را به مثابه پدیده ای بدنمند پیشنهاد می‌دهد که در ارتباط با پرده‌ی سینما درک می‌شود. | ||
| کلیدواژه‌ها | ||
| "نوروفیلمولوژی"؛ "نوروسینماتیک"؛ "نوراستتیک"؛ "سینما"؛ "علوم شناختی و هنر" | ||
| عنوان مقاله [English] | ||
| Neurofilmology As a Method in Cinematic Studies | ||
| نویسندگان [English] | ||
| Ali Mahdipour1؛ Nader Shayganfar2؛ Abdolrahman Najlerahim3؛ Reza Khosrowabadi4 | ||
| 1PH. D. candidate in Art Research. Faculty of Research Excellence in Art and Entrepreneurship, Isfahan Art university | ||
| 2Associate Professor of Art Research, Faculty of Research Excellence in Art and Entrepreneurship, Isfahan Art University | ||
| 3Professor and Neurologist, Neuroscience | ||
| 4Institute for Cognitive and Brain Sciences, Shahid Beheshti University, Tehran, Iran. | ||
| چکیده [English] | ||
| In today's rapidly evolving era, the boundaries that once defined disciplines such as natural and empirical sciences, humanities, and arts seem to be fading away. The continuous expansion of knowledge has led to a convergence where it becomes increasingly necessary to adopt different cognitive perspectives to comprehend research within each domain. The primary factor contributing to these blurred boundaries lies in the differences in methodological approaches employed by each discipline. Essentially, each field investigates the world from a specific angle, setting it apart and shaping its unique identity. Consequently, the main distinction between humanities and arts, on the one hand, and empirical sciences on the other, can be attributed to their divergent methodologies. The separation between these knowledge domains is not about the subject matter itself but rather the methods used for data collection and analysis. Empirical sciences rely heavily on quantitative and qualitative studies, while humanities and arts predominantly employ qualitative studies to delve into the depths of human experiences and expression. However, with knowledge expanding at an unprecedented pace, the need arises to establish a common language that bridges the gap between information from different disciplinary domains. In response, interdisciplinary studies have emerged and developed as a means to seek comprehensive answers by considering different aspects of a unified topic. This necessitates the convergence of multiple data collection methods and the integration of research methodologies that span across various disciplines. The integration of diverse approaches to data analysis has gained significant significance in contemporary studies, enabling researchers to explore new territories and unlock new insights that would have remained elusive within the confines of a single discipline. Interdisciplinary research plays a crucial role in the realm of art studies, representing a fusion of empirical sciences and humanities in examining artistic phenomena. The human brain, responsible for cognition and interpretation, has been a subject of research in both humanities and empirical sciences. The philosophy of mind reflects on how thoughts take shape within the human mind and concerns the intricate connection between the mind and body. On the other hand, cognitive sciences, particularly cognitive neuroscience, seek to scientifically study the functioning of the brain and its impact on thinking and other mental activities. In this sense, studying the brain serves as a prominent intersection between humanities and empirical sciences, where both fields converge to shed light on the mysteries of human cognition and perception. The intersection of cognitive neuroscience and aesthetics, specifically in relation to art, has led to the emergence of studies that expand the scope of empirical scientific methods into the realm of art. Interdisciplinary approaches that analyze subjects from multiple angles have gained prominence in contemporary academia, realizing that complex phenomena often require a comprehensive examination. One notable example is the fusion of science and art, where both fields find common ground in their shared fascination with the human experience. Neurofilmology, an innovative approach within interdisciplinary studies, establishes a vital connection between cognitive neuroscience, the philosophy of mind, and cinema—the so-called seventh art form. By intertwining these disciplines, neurofilmology invites a deeper comprehension of the artistic medium and the ways in which it touches and influences human cognition and perception. It proposes studying the audience as an embodied phenomenon and understanding cinematic perception as a pathway into the realms of art and the human mind. By exploring this intersection, researchers are able to unlock new insights into the human experience and enhance our understanding of the intricate relationship between art, cognition, and the human brain. They delve into the mechanisms that underlie our emotional responses to art, how it engages our senses, and how it intertwines with our thoughts and memories. This interdisciplinary approach leads to a broader perspective on the transformative power of art, its universality, and its significance in shaping our perception of the world. In the study of body-oriented cinema, films are recognized as a common ground that encompasses the exploration of the mind-brain in both philosophies of mind and neuroscience, thereby embodying a somatic significance. They find their place within combined research, including neurocinematics and neurofilmology. "Films are strangely suitable to reveal the unity of mind and body, mind and world, and the expression of one in the other". This definition by Merleau-Ponty provides a clear framework for the theoretical perspective of neurofilmology. "It gives us another opportunity to affirm that modes of thought are in accordance with technical methods and to borrow from Goethe's expression: 'What is within is also without'" . The theoretical history of cinema is intertwined with phenomenology, encompassing a range from André Bazin to Vivian Sobchack. Generally speaking, these perspectives have been based on the first-person view of phenomenology in defining cinema. Sobchack also expresses, based on Merleau-Ponty's perspective in her book The Address of the Eye, that "not only is cinema an embodied manifestation of our inherent outlook on the world and others, but its technology is also regarded as an accessory of conscious awareness". Thomas Elsaesser, in his book Film Theory: An Introduction Through the Senses, discusses Sobchack's perspectives as well as provides an explanation for the relationship between cinema and neuroscience in recent years. In the chapter related to neuroscience, Elsaesser, in addition to discussing Bergson and Deleuze, presents the views of Antti Revonsuo and Torben Grodal. Elsaesser states, "Both Deleuze and Revonsuo agreed in the 1980s and Mickelsen in the 1960s that when it comes to cinema as a cognitive tool, it is no longer possible to separate the body and mind; in cinema, neither the body (and sensation) dominates the mind, nor does the mind (cognition) negate physical presence, rather it creates a body-brain or brain-body—an integrated neural-consciousness network". From Grodal's perspective, one can explore the broad range of cognitive theories in cinema—a range that includes Noël Carroll to David Bordwell—and among their theories, it is undoubtedly possible to find explicit commonalities that will be insightful. However, between Grodal and Carroll, one can explore their shared interests in studying the relationship between mass audiences and the body. Grodal believes that in this way, the obstruction between central consciousness and self-abstraction will be removed. Along this line, Joseph D. Anderson extends the cognitive theory of film to a broader field with his book The Reality of Illusion and argues that "the viewer can be considered as a standard sound/image processor. The central processor, the brain, is located among the sensory indicators, and a standardized model exists, with slight variations for everyone. The primary processing system is global since both the brain and the functional system have evolved over more than 150 million years of mammalian evolution". Another significant figure is undoubtedly Patricia Pisters, who proposes the term "image-neuron" as a complement to image-motion and time-motion in creating a common ground between Deleuze's philosophy and neuroscience. Pisters attempts to prove Deleuze's idea that "the brain is the veil of appearance." Her idea is based on the mirror neuron function, and she believes that "we have simulation mechanisms inside our brain," which she calls, after Damasio, "body loops" that, as neuroscientist Vittorio Gallese writes, "guide us not only from within but also by observing others". Pisters argues, "...in a real sense, we become what we see, at least neurologically. Something resonates with what we see in our brain circuitry (asymmetrically) and immediately changes—without 'protection.' We are truly affected by what we see". D’Aloia also focuses on mirror neurons in his book Neurofilmology of Moving Image, introducing the study of neurofilmology as a bodily-oriented study, where each viewer has seemingly performed what they see. In the end, interdisciplinary studies provide a powerful platform for collaboration and knowledge integration, enabling researchers to tackle complex questions that lie beyond disciplinary boundaries. The convergence of methodologies from diverse disciplines offers exciting opportunities to explore new perspectives and advance our collective understanding of the world. As we navigate the expanding frontiers of knowledge, interdisciplinary approaches play a vital role in addressing modern challenges and offering innovative solutions. By embracing the interconnectedness of various disciplines, we expand our horizons and open new pathways for discovery, enriching our understanding of the world and the remarkable complexities that encompass it. | ||
| کلیدواژه‌ها [English] | ||
| "Neurofilmology", "Neurocinematics", "Neuroaesthetics", "Cinema", "Cognitive Neurosciences", "Cognitive Sciences and Art" | ||
| مراجع | ||
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کتاب نامه
اندرو ، دادلی ( ۱۳۶۵ ). تئوری های اساسی فیلم ،ترجمه : مسعود مدنی، تهران : عکس معاصر.
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