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<p>Empathy is a major aspect of the interplay between filmmaking and reception. Philosophers and neuroscientists have asserted how film’s technical and conceptual devices seemingly simulate the streamings of consciousness by rendering through images the very processes of thought. More recently, in a noteworthy collaborative work between neuroscience and film theory, Vittorio Gallese and Michele Guerra (2020) have observed how the process of “embodied simulation” is at the basis of empathy, making possible intense and diversified experiences of space, objects and other individuals, and offering an important contribution to the study of how films are experienced and co-created by viewers. Drawing on these arguments from neuroscience, philosophy and film theory, in this paper I explore a renewed relationship between empathy and film aesthetics.</p>

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Empathy in Art and Science: Embodied Cognition and Affect in Film

  • 期刊论文

  • 发表日期：

    2025年1月15日

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  • Graça P. Corrêa

摘要

Empathy is a major aspect of the interplay between filmmaking and reception. Philosophers and neuroscientists have asserted how film’s technical and conceptual devices seemingly simulate the streamings of consciousness by rendering through images the very processes of thought. More recently, in a noteworthy collaborative work between neuroscience and film theory, Vittorio Gallese and Michele Guerra (2020) have observed how the process of “embodied simulation” is at the basis of empathy, making possible intense and diversified experiences of space, objects and other individuals, and offering an important contribution to the study of how films are experienced and co-created by viewers. Drawing on these arguments from neuroscience, philosophy and film theory, in this paper I explore a renewed relationship between empathy and film aesthetics.