Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager

Simin Nina Littschwager’s Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses offers a phenomenological approach to the concept of complexity in film. Littschwager develops her arguments and analysis around a set of six films, namely, The Sixth Sense (M. Night Shyamalan...
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Autor*in:	Luis Antunes [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2020

Schlagwörter:	multisensory film experience mind-games films embodiment and the senses littschwager

Übergeordnetes Werk:	In: Alphaville: Journal of Film and Screen Media - University College Cork, 2012, (2020), 19, Seite 276-280
Übergeordnetes Werk:	year:2020 ; number:19 ; pages:276-280

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

Katalog-ID:	DOAJ038777576

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spelling	(DE-627)DOAJ038777576 (DE-599)DOAJ607b03c17f68436483398898a4cfa4c2 DE-627 ger DE-627 rakwb eng N1-9211 Luis Antunes verfasserin aut Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Simin Nina Littschwager’s Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses offers a phenomenological approach to the concept of complexity in film. Littschwager develops her arguments and analysis around a set of six films, namely, The Sixth Sense (M. Night Shyamalan, 1999), The Others (Alejandro Amenábar, 2000), Memento (Christopher Nolan, 2000), Fight Club (David Fincher, 1999), Possible Worlds (Robert Lepage, 2000), and Source Code (Duncan Jones, 2011). Littschwager’s main thesis asserts that mind-game films—a term introduced by Thomas Elsaesser in his 2009 essay “The Mind-Game Film”—need to be understood from the perspective of embodied experience, and beyond the predominantly visual and cognitive approaches that have so far been used to address the topic in film scholarship. Littschwager believes that complexity in film has been understood mainly as a brain-teaser effect where “the body and the senses play only a marginal role” (3). multisensory film experience mind-games films embodiment and the senses littschwager Visual arts In Alphaville: Journal of Film and Screen Media University College Cork, 2012 (2020), 19, Seite 276-280 (DE-627)718716469 (DE-600)2666765-4 20094078 nnns year:2020 number:19 pages:276-280 https://doi.org/10.33178/alpha.19.29 kostenfrei https://doaj.org/article/607b03c17f68436483398898a4cfa4c2 kostenfrei http://www.alphavillejournal.com/Issue19/HTML/ReviewAntunes.html kostenfrei https://doaj.org/toc/2009-4078 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 2020 19 276-280
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spellingShingle	Luis Antunes misc N1-9211 misc multisensory film experience misc mind-games films misc embodiment and the senses misc littschwager misc Visual arts Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager
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topic_title	N1-9211 Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager multisensory film experience mind-games films embodiment and the senses littschwager
topic	misc N1-9211 misc multisensory film experience misc mind-games films misc embodiment and the senses misc littschwager misc Visual arts
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title_sort	making sense of mind-game films: narrative complexity, embodiment, and the senses, by simin nina littschwager
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title_auth	Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager
abstract	Simin Nina Littschwager’s Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses offers a phenomenological approach to the concept of complexity in film. Littschwager develops her arguments and analysis around a set of six films, namely, The Sixth Sense (M. Night Shyamalan, 1999), The Others (Alejandro Amenábar, 2000), Memento (Christopher Nolan, 2000), Fight Club (David Fincher, 1999), Possible Worlds (Robert Lepage, 2000), and Source Code (Duncan Jones, 2011). Littschwager’s main thesis asserts that mind-game films—a term introduced by Thomas Elsaesser in his 2009 essay “The Mind-Game Film”—need to be understood from the perspective of embodied experience, and beyond the predominantly visual and cognitive approaches that have so far been used to address the topic in film scholarship. Littschwager believes that complexity in film has been understood mainly as a brain-teaser effect where “the body and the senses play only a marginal role” (3).
abstractGer	Simin Nina Littschwager’s Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses offers a phenomenological approach to the concept of complexity in film. Littschwager develops her arguments and analysis around a set of six films, namely, The Sixth Sense (M. Night Shyamalan, 1999), The Others (Alejandro Amenábar, 2000), Memento (Christopher Nolan, 2000), Fight Club (David Fincher, 1999), Possible Worlds (Robert Lepage, 2000), and Source Code (Duncan Jones, 2011). Littschwager’s main thesis asserts that mind-game films—a term introduced by Thomas Elsaesser in his 2009 essay “The Mind-Game Film”—need to be understood from the perspective of embodied experience, and beyond the predominantly visual and cognitive approaches that have so far been used to address the topic in film scholarship. Littschwager believes that complexity in film has been understood mainly as a brain-teaser effect where “the body and the senses play only a marginal role” (3).
abstract_unstemmed	Simin Nina Littschwager’s Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses offers a phenomenological approach to the concept of complexity in film. Littschwager develops her arguments and analysis around a set of six films, namely, The Sixth Sense (M. Night Shyamalan, 1999), The Others (Alejandro Amenábar, 2000), Memento (Christopher Nolan, 2000), Fight Club (David Fincher, 1999), Possible Worlds (Robert Lepage, 2000), and Source Code (Duncan Jones, 2011). Littschwager’s main thesis asserts that mind-game films—a term introduced by Thomas Elsaesser in his 2009 essay “The Mind-Game Film”—need to be understood from the perspective of embodied experience, and beyond the predominantly visual and cognitive approaches that have so far been used to address the topic in film scholarship. Littschwager believes that complexity in film has been understood mainly as a brain-teaser effect where “the body and the senses play only a marginal role” (3).
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