Cognitive theory and documentary film
- Submitting institution
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Bournemouth University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 320644
- Type
- B - Edited book
- DOI
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- Publisher
- Palgrave Macmillan
- ISBN
- 9783030079932
- Open access status
- -
- Month of publication
- August
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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3 - Media Industries
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This collection is the first to intersect documentary and cognitive studies. Brylla was the project’s initiator and principal editor, overseeing the commissioning and review of the international contributions. He also co-authored the introduction and single-authored chapter 15. Emerging discourses in media studies, cultural studies, psychology and neuroscience have acknowledged that audiences live in a mass-mediated culture that filters reality through media, but emotional and cognitive responses to documentaries have largely remained unexplored. Thus, Brylla has identified the following research aims for this book: (1) demonstrating that cognitive theory represents an invaluable tool for scholars and media practitioners to comprehend the documentary’s implications within a psychological and socio-cultural context; (2) mapping the reasons for the ossified divisions that have historically inhibited a substantial convergence between documentary and cognitive studies, and to establish an impetus that highlights the compatibility of the two fields; (3) highlighting the efficiency of contemporary cognitive methods (e.g. 4EA) to analyse classical, as well as modern documentary forms that challenge the notions of factuality and objectivity. In this sense, the book also aims to explore the permeable boundary between fiction and documentary. The introduction discusses these aims in relation to the commissioning and reviewing process, focusing on areas of production, reception and exhibition by overlapping the natural sciences, the social sciences and the humanities, as well as theory and practice-led-research. For instance, Brylla’s chapter uses a social-cognition approach to examine the relationship between ‘social’ and ‘narrative’ stereotypes in relation to disability. Demonstrated in his own film practice, he develops the plotting technique of modular fragments that aims to deconstruct the perceived ‘otherness’ of disabled people. The book features in Brylla’s public masterclass series “Documentary Storytelling” (UCL – Open City). It had its dedicated book launch at the Cognitive Futures in Arts and Humanities Conference in Mainz.
- Author contribution statement
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- Non-English
- No
- English abstract
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