Hermann Kappelhoff
Biographic Data
| ID | 5778568 |
|---|---|
| NAME | Hermann Kappelhoff |
| GIVEN NAMES | Hermann |
| FAMILY NAME | Kappelhoff |
| SIGNATURE | KAPPELHOFF H |
| AFFILIATIONS | Freie Universität Berlin |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Filmische Seitenblicke
Embodied meaning construction
In this article, we argue that multimodal metaphors are grounded in the dynamics of felt experiences. Felt experiences are inherently affective, with immediate sensory qualities and an affective stance. We suggest that as such, they ground the emergence and activation of metaphors. We illustrate this idea with analyzed data from a film and face-to-face conversation. Our consideration of expressive movement in speech, gestures, and feature film do…
The Distribution of Emotions
From the very beginning, cinema has been accompanied by an aesthetic utopia: the utopia of an image that in one and the same act permits a world to be understandable in its legality and experienceable as a physical-sensual being-in-the-world. It can be traced from classic film theory—e.g., the writings of Eisenstein and Benjamin—to recent developments in aesthetic thinking, such as the work of Rancière, where it reappears as the “Politics of Aest…
The Distribution of Emotions
From the very beginning, cinema has been accompanied by an aesthetic utopia: the utopia of an image that in one and the same act permits a world to be understandable in its legality and experienceable as a physical-sensual being-in-the-world. It can be traced from classic film theory—e.g., the writings of Eisenstein and Benjamin—to recent developments in aesthetic thinking, such as the work of Rancière, where it reappears as the “Politics of Aest…
Embodied meaning construction
In this article, we argue that multimodal metaphors are grounded in the dynamics of felt experiences. Felt experiences are inherently affective, with immediate sensory qualities and an affective stance. We suggest that as such, they ground the emergence and activation of metaphors. We illustrate this idea with analyzed data from a film and face-to-face conversation. Our consideration of expressive movement in speech, gestures, and feature film do…
The Distribution of Emotions
From the very beginning, cinema has been accompanied by an aesthetic utopia: the utopia of an image that in one and the same act permits a world to be understandable in its legality and experienceable as a physical-sensual being-in-the-world. It can be traced from classic film theory—e.g., the writings of Eisenstein and Benjamin—to recent developments in aesthetic thinking, such as the work of Rancière, where it reappears as the “Politics of Aest…
Filmische Seitenblicke
Aesthetics (2 works) · Art (2 works) · Philosophy (2 works) · Achtundsechziger (1 works) · Action Observation and Synchronization (1 works) · Art history (1 works) · Art, Politics, and Modernism (1 works) · Cognitive science (1 works) · Communication (1 works) · Computer Science (1 works)