Maarten Coëgnarts
Biographic Data
| ID | 1627329 |
|---|---|
| NAME | Maarten Coëgnarts |
| GIVEN NAMES | Maarten |
| FAMILY NAME | Coëgnarts |
| SIGNATURE | COËGNARTS M |
| AFFILIATIONS | University of Antwerp |
| ORCID | 0000-0003-2813-4847 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Cognitivism in Film and Media Studies
As we assume our roles as editors of Projections: The Journal for Movies and Mind , we take this opportunity to reflect upon the nature of cognitivism in the study of the moving image. We reflect upon five areas of scholarship that are demonstrative of the wide range of epistemological approaches that represent our field, and in doing so affirm our commitment to the pluralistic nature of the cognitive studies of the moving image. We invite schola…
The Interaction of Color in Film
This article offers a psychological account of color expression in film. In the first part, we examine the distinction between color's physical properties and its psychological effects, drawing on the work of Josef Albers, among others, to illustrate how context shapes color perception. Anil Seth's embodied inferential theory of consciousness provides a broader framework for understanding these psychological processes in the light of contemporary…
Embodying the Audiovisual Scene
This article provides an embodied cognitive account of sound in film. Treating sound and image as equal partners, we first develop a spatial model for film sound that is based on the inferential logic of the container image schema; an embodied schema which has been argued to play a pivotal role in human reasoning. Next, we use this model to distinguish between three kinds of dynamic sound patterns of containment in film: (1) sound vectors that cr…
A Peircean framework for analyzing subjectivity in film
The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce's three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocula…
How Motion Shapes Thought in Cinema
This article provides an embodied study of the film style of the French filmmaker Éric Rohmer. Drawing on insights from cognitive linguistics, I first show how dynamic patterns of containment shape human thinking about relationships, a concept central to Rohmer’s cinema. Second, I consider the question of how film might elicit this spatial thinking through the use of such cinematic devices as mobile framing and fixed-frame movement. Third, using …
Perceiving Causality in Character Perception
This article aims to show how the metaphorical and metonymical portrayal of character perception in film can give rise to two distinct but interrelated percepts of causality in the viewer, namely (1) the percept that the viewer sees that an object perceived by a character causes the character’s perception of that object and (2) the percept that the viewer sees that character perception in turn causes a change of state in the perceiving character’…
With the Past in Front of the Character
Cognitive research on Ego-Reference-Point models of time in English traditionally shows that “FUTURE IS IN FRONT OF EGO” and “PAST IS IN BACK OF EGO.” Recently, however, this view has been challenged by other results, showing that there exists a major static model of time wherein “FUTURE IS IN BACK OF EGO” and “PAST IS IN FRONT OF EGO.” However, evidence for both conceptual systems comes predominantly from linguistic and gestural forms of express…
A study in cinematic subjectivity
This article offers a metaphorical and embodied examination of the representation of perception in narrative cinema. Using insights from Conceptual Metaphor Theory we argue that the perceptual states of characters can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of human bodies. More specifically, we show how a predominant pair of conceptual mappings, namely the metonymy perceptual org…
Embodied Visual Meaning
This article examines embodied visual meaning in film, the ways that film makes use of recurring dynamic patterns of our shared bodily interactions with the world (image schemas) to communicate abstract meaning to the viewer. Following the lead of recent discoveries in the field of neuroscience, the article argues that this metaphorical transference of abstract thought by means of image schemas is possible via the activation of embodied mirroring…
Embodied Visual Meaning
This article examines embodied visual meaning in film, the ways that film makes use of recurring dynamic patterns of our shared bodily interactions with the world (image schemas) to communicate abstract meaning to the viewer. Following the lead of recent discoveries in the field of neuroscience, the article argues that this metaphorical transference of abstract thought by means of image schemas is possible via the activation of embodied mirroring…
A Peircean framework for analyzing subjectivity in film
The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce's three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocula…
Embodied Visual Meaning
This article examines embodied visual meaning in film, the ways that film makes use of recurring dynamic patterns of our shared bodily interactions with the world (image schemas) to communicate abstract meaning to the viewer. Following the lead of recent discoveries in the field of neuroscience, the article argues that this metaphorical transference of abstract thought by means of image schemas is possible via the activation of embodied mirroring…
A study in cinematic subjectivity
This article offers a metaphorical and embodied examination of the representation of perception in narrative cinema. Using insights from Conceptual Metaphor Theory we argue that the perceptual states of characters can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of human bodies. More specifically, we show how a predominant pair of conceptual mappings, namely the metonymy perceptual org…
With the Past in Front of the Character
Cognitive research on Ego-Reference-Point models of time in English traditionally shows that “FUTURE IS IN FRONT OF EGO” and “PAST IS IN BACK OF EGO.” Recently, however, this view has been challenged by other results, showing that there exists a major static model of time wherein “FUTURE IS IN BACK OF EGO” and “PAST IS IN FRONT OF EGO.” However, evidence for both conceptual systems comes predominantly from linguistic and gestural forms of express…
Perceiving Causality in Character Perception
This article aims to show how the metaphorical and metonymical portrayal of character perception in film can give rise to two distinct but interrelated percepts of causality in the viewer, namely (1) the percept that the viewer sees that an object perceived by a character causes the character’s perception of that object and (2) the percept that the viewer sees that character perception in turn causes a change of state in the perceiving character’…
How Motion Shapes Thought in Cinema
This article provides an embodied study of the film style of the French filmmaker Éric Rohmer. Drawing on insights from cognitive linguistics, I first show how dynamic patterns of containment shape human thinking about relationships, a concept central to Rohmer’s cinema. Second, I consider the question of how film might elicit this spatial thinking through the use of such cinematic devices as mobile framing and fixed-frame movement. Third, using …
Embodying the Audiovisual Scene
This article provides an embodied cognitive account of sound in film. Treating sound and image as equal partners, we first develop a spatial model for film sound that is based on the inferential logic of the container image schema; an embodied schema which has been argued to play a pivotal role in human reasoning. Next, we use this model to distinguish between three kinds of dynamic sound patterns of containment in film: (1) sound vectors that cr…
A Peircean framework for analyzing subjectivity in film
The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce's three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocula…
The Interaction of Color in Film
This article offers a psychological account of color expression in film. In the first part, we examine the distinction between color's physical properties and its psychological effects, drawing on the work of Josef Albers, among others, to illustrate how context shapes color perception. Anil Seth's embodied inferential theory of consciousness provides a broader framework for understanding these psychological processes in the light of contemporary…
Cognitivism in Film and Media Studies
As we assume our roles as editors of Projections: The Journal for Movies and Mind , we take this opportunity to reflect upon the nature of cognitivism in the study of the moving image. We reflect upon five areas of scholarship that are demonstrative of the wide range of epistemological approaches that represent our field, and in doing so affirm our commitment to the pluralistic nature of the cognitive studies of the moving image. We invite schola…
Psychology (6 works) · Art (5 works) · Epistemology (5 works) · Language, Metaphor, and Cognition (5 works) · Philosophy (5 works) · Movie theater (4 works) · Action Observation and Synchronization (3 works) · Aesthetics (3 works) · Categorization, perception, and language (3 works) · Cognitive psychology (3 works)