2020
DOI: 10.5325/style.54.2.0172
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Keeping Track of Time: The Role of Spatial and Embodied Cognition in the Comprehension of Nonlinear Storyworlds

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Cited by 8 publications
(5 citation statements)
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“…Recent influential publications tying cognitive embodiment closely to several disciplines advancing scholarship in a multiplicity of genres are discernible in the literature to date (See, for example, Burke and Troscianko, 2013;Dancygier, 2012;Musolff et al, 2014;Semino, 2008Semino, , 2017. In a similar vein, an ongoing scholarship on the interrelationship between cognitive embodiment and film studies is remarkable (See, for example, Coëgnarts, 2017;Coëgnarts and Kravanja, 2016a, 2016b, 2016c, 2016dFahlenbrach, 2016;Forceville and Renckens, 2013;Scarinzi, 2015;Shapiro, 2014;Willemsen and Kiss, 2020). Despite the plethora of works on embodied cognition and filmography, the theory has not been addressed in the context of postcyberpunk films with special focus on posthuman representation in relation to emotion AI.…”
Section: Notesmentioning
confidence: 98%
“…Recent influential publications tying cognitive embodiment closely to several disciplines advancing scholarship in a multiplicity of genres are discernible in the literature to date (See, for example, Burke and Troscianko, 2013;Dancygier, 2012;Musolff et al, 2014;Semino, 2008Semino, , 2017. In a similar vein, an ongoing scholarship on the interrelationship between cognitive embodiment and film studies is remarkable (See, for example, Coëgnarts, 2017;Coëgnarts and Kravanja, 2016a, 2016b, 2016c, 2016dFahlenbrach, 2016;Forceville and Renckens, 2013;Scarinzi, 2015;Shapiro, 2014;Willemsen and Kiss, 2020). Despite the plethora of works on embodied cognition and filmography, the theory has not been addressed in the context of postcyberpunk films with special focus on posthuman representation in relation to emotion AI.…”
Section: Notesmentioning
confidence: 98%
“…Intricate time travel (e.g., Terry Gilliam's 1995 12 Monkeys), tangled multiple universes and complex parallel metaverses (e.g., the tangent universe in Donnie Darko or the alternate universe in J.J. Abrams, Alex Kurtzman and Roberto Orci's 2008-2013 television series Fringe), confusing time-based loops (e.g., Christopher Smith's 2009 Triangle) and other strange and impossible storyworld temporalities provide challenging experiences through their deviations from viewers' real-world and embodied experiential backgrounds. While both achronological storytelling and achronological storyworlds function through non-linearity and deal with time, I have, in previous work (Willemsen & Kiss 2020), proposed to distinguish between the cognitive effects of the complexities that either come from manipulating the arrangement of information (the plot) or from a fictional unnaturalization of the diegetic world (the story). While a complex experience in the case of non-linear storytelling results mainly from an increased cognitive effort required by a chronological (re)ordering of the non-chronologically presented events, achronological storyworlds (and their various forms of diegetic time structures that are phenomenologically non-experienceable thus non-relatable) elicit puzzling effects through undermining core processes of viewers' mental, situational, or event model formation (Johnson-Laird 1983;Van Dijk & Kintsch 1983;Zwaan 1999, respectively), thus problematizing the very parameters by which spatiotemporal connections between narrative events can be established (Willemsen & Kiss 2020).…”
Section: The Puzzling Effects Of Manipulating the Narration And The N...mentioning
confidence: 99%
“…While both achronological storytelling and achronological storyworlds function through non-linearity and deal with time, I have, in previous work (Willemsen & Kiss 2020), proposed to distinguish between the cognitive effects of the complexities that either come from manipulating the arrangement of information (the plot) or from a fictional unnaturalization of the diegetic world (the story). While a complex experience in the case of non-linear storytelling results mainly from an increased cognitive effort required by a chronological (re)ordering of the non-chronologically presented events, achronological storyworlds (and their various forms of diegetic time structures that are phenomenologically non-experienceable thus non-relatable) elicit puzzling effects through undermining core processes of viewers' mental, situational, or event model formation (Johnson-Laird 1983;Van Dijk & Kintsch 1983;Zwaan 1999, respectively), thus problematizing the very parameters by which spatiotemporal connections between narrative events can be established (Willemsen & Kiss 2020).…”
Section: The Puzzling Effects Of Manipulating the Narration And The N...mentioning
confidence: 99%
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“…From Modernism to metamodernism, Gibbons (2020) examines a range of metamodernist fiction, primarily 10:04 (2014) by Ben Lerner, to suggest a new temporal experience, prompted by anthropocenic climate change, which resuscitates concepts of the future which are constrained in postmodernism. Time, specifically complex nonlinear structures, is also central to an article by Willemsen and Kiss (2020), which draws on conceptual metaphor theory and mental timeline theory to suggest that readers make sense of nonlinear storyworlds by their ability to cognitively view time in terms of space.…”
Section: Narrativementioning
confidence: 99%