Enactive Cinema: Simulatorium Eisensteinense

Abstract

The dissertation at hand explores the very grounds, within which the phenomenon of cinema emerges. It is a study of the intrinsic dynamics of cinema author’s mind in the process of creating moving image. Alas, it is not a historical, cultural, or ideological study into the handicraft, the narrative genres, or technological developments of cinema. Instead, it discusses possible foundations of cinema in the human nature, as seems viable in the light of the contemporary biological and psychological constraints. The dissertation is set to define a kind of cinema, which reflects the recent scientific knowledge about neural underpinnings of human activity, and which draws its emotional power from one’s experimental resources of understanding and interacting with others within the everyday world. While attribute of ‘enactive’ carries the explicit sense of pragmatic doing and meaningful acting in the world, it is the embodied simulation of the world, which will provide the cognitive environment for creative enactment. Emotions, in addition to determining unconscious, involuntary understanding about the state of things, also determine all conscious, intentional, and imaginative aspects of cognition. Faithful to the spirit of Eisenstein the dissertation deliberately deviates from other mainstream cinema research: instead of the spectator, the focus here is on the author’s cognitive processes.

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