Arnheim on the perception of moving images
Author(s) / Creator(s)
Schönhammer, Rainer
Abstract / Description
The most eminent feature of Arnheim's theory of film is the author's sceptical view of sound film ("the introduction
of the sound film smashed many of the forms that the film artists were using in favour of the intrinsic demand for
the greatest possible ?naturalness''; 1957, p. 154). Instead of discussing dimensions of this ?anachronism', the
present paper focuses on an elementof Arnheim's theory that is still relevant: the perception of moving images.
Arnheim stressed that the movement of objects (not least: the moving human body) — besides being expressive — is
essential for the viewer's impression of three-dimensional space. As for the movement of the camera, Arnheim
explained why it tends to produce disorientation and dizziness (which may sometimes be an intended effect). These
insights contradict the still widespread mystification of camera movements as the core of the movie experience (cf.
Gibson, 1982; Bordwell, 2001).
Keyword(s)
Wahrnehmung Visuelle Wahrnehmung WahrnehmungspsychologiePersistent Identifier
Date of first publication
2004
Is part of
Paper presented at the 23rd annual conference of the European Society for the History of the Human Sciences, Salzburg, Austria, 20th-24th July, 2004
Citation
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Schoenhammer_Arnheim_SalzburgPaper_2004.pdfAdobe PDF - 19.83KBMD5: 63dcdd6775f5b33f770b5462e58ea3e3
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There are no other versions of this object.
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Author(s) / Creator(s)Schönhammer, Rainer
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PsychArchives acquisition timestamp2022-11-21T13:54:59Z
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Made available on2005-09-08
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Made available on2016-07-14T06:09:53Z
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Made available on2022-11-21T13:54:59Z
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Date of first publication2004
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Abstract / DescriptionThe most eminent feature of Arnheim's theory of film is the author's sceptical view of sound film ("the introduction of the sound film smashed many of the forms that the film artists were using in favour of the intrinsic demand for the greatest possible ?naturalness''; 1957, p. 154). Instead of discussing dimensions of this ?anachronism', the present paper focuses on an elementof Arnheim's theory that is still relevant: the perception of moving images. Arnheim stressed that the movement of objects (not least: the moving human body) — besides being expressive — is essential for the viewer's impression of three-dimensional space. As for the movement of the camera, Arnheim explained why it tends to produce disorientation and dizziness (which may sometimes be an intended effect). These insights contradict the still widespread mystification of camera movements as the core of the movie experience (cf. Gibson, 1982; Bordwell, 2001).en
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Publication statusunknown
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Review statusunknown
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Persistent Identifierhttps://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bsz:291-psydok-5496
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Persistent Identifierhttps://hdl.handle.net/20.500.11780/3588
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Persistent Identifierhttps://doi.org/10.23668/psycharchives.10068
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Language of contenteng
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Is part ofPaper presented at the 23rd annual conference of the European Society for the History of the Human Sciences, Salzburg, Austria, 20th-24th July, 2004
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Keyword(s)Wahrnehmungde
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Keyword(s)Visuelle Wahrnehmungde
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Keyword(s)Wahrnehmungspsychologiede
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Dewey Decimal Classification number(s)700
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TitleArnheim on the perception of moving imagesen
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DRO typebookPart
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Visible tag(s)PsyDok