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The “good form” of film: The aesthetics of continuity from Gestalt psychology to cognitive film theory

Poulaki, M (2018) The “good form” of film: The aesthetics of continuity from Gestalt psychology to cognitive film theory Gestalt Theory, 40 (1). pp. 29-43.

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Abstract

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.

Item Type: Article
Divisions : Faculty of Arts and Social Sciences > School of Arts
Authors :
NameEmailORCID
Poulaki, Mm.poulaki@surrey.ac.uk
Date : 11 April 2018
Identification Number : 10.2478/gth-2018-0004
Copyright Disclaimer : Copyright 2018 The Author(s)
Uncontrolled Keywords : Continuity; film; neurocinematics; Arnheim; Gestalt
Depositing User : Melanie Hughes
Date Deposited : 28 Mar 2018 11:13
Last Modified : 10 Jul 2018 14:43
URI: http://epubs.surrey.ac.uk/id/eprint/846103

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