فیلم به‌عنوان هنر تجسمی: معنای بدنی در سینمای استنلی کوبریک

How do the films of Kubrick communicate mental events of characters in a purely visual manner? And how does the music in his films express meaning when music in essence is an abstract and non-representational art form? Drawing on state-of-the-art discoveries within embodied cognitive science, this book sets out to address these and other questions by revealing Kubrick as a genuine artist of embodied meaning-making, a filmmaker who perhaps more than any other director, uses all the resources of filmmaking in such a controlled and dense manner as to elicit the embodied tools necessary to achieve a level of conceptual clarity. "How do the films of Kubrick communicate mental events of characters in a purely visual manner? And how does the music in his films express meaning when music in essence is an abstract and non-representational art form? Drawing on state-of-the-art discoveries within embodied cognitive science, this book sets out to address these and other questions by revealing Kubrick as a genuine artist of embodied meaning-making, a filmmaker who perhaps more than any other, uses all the resources of filmmaking in such a controlled and dense manner as to elicit the embodied tools necessary to achieve a level of conceptual clarity"-- Provided by publisher How Do The Visuals Of Kubrick's Work Convey Complex Concepts And Abstractions Without The Traditional Reliance On Words? And How Does The Pure Instrumental Music In His Films Express Meaning When Music, In Essence, Is An Abstract Art Form? Drawing On State-of-the-art Research In Embodied Cognitive Science, This Book Sets Out To Explore These Questions By Revealing Kubrick As A Genuine Conceptual Artist, A Filmmaker Who Perhaps More Than Any Other Director, Uses All The Non-verbal Resources Of Filmmaking In Such A Controlled And Dense Manner As To Elicit The Bodily Structures Necessary To Achieve A Level Of Conceptual Understanding. Reveals Stanley Kubrick to be a genuine master of the art of embodying the mental life of characters — a filmmaker who perhaps more than any other director, uses all the resources of filmmaking in such a controlled and dense manner as to elicit the embodied conditions necessary to achieve a level of conceptual depth.