Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.

This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?

In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory (CMT) to film, television, and video games in order to analyze the embodied aesthetics and meanings of those moving images.

Figurativity has attracted scholars’ attention for thousands of years and yet there are still open questions concerning its nature. Figurativity and Human Ecology endorses a view of figurativity as ubiquitous in human reasoning and language, and as a key example of how a human organism and its perceived or imagined environment co-function as a system. The volume sees figurativity not only as embedded in an environment but also as a way of acting within that environment. It places figurativity within an ecological context, and approaches it as a phenomenon which cuts across bodily, psychological, linguistic, social, cultural and natural environments. Figurativity and Human Ecology will appeal to those interested in the analysis of the all-encompassing creativity of the human mind and in the methodological difficulties associated with the study of cognition.

Fostering a dialog between Critical Disability Studies, American Studies, InterAmerican Studies, and Global Health Studies, the edited compilation conceptualizes disability and (mental) illnesses as a cultural narrative enabling a deeper social critique. By looking at contemporary cultural productions primarily from the USA, Canada, and the Caribbean, the books’ objective is to explore how literary texts and other cultural productions from the Americas conceptualize, construct, and represent disability as a narrative and to investigate the deep structures underlying the literary and cultural discourses on and representations of disability including parameters such as disease, racism, and sexism among others. Disability is read as a shifting phenomenon rooted in the cultures and histories of the Americas.

A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle. This book defines an emergent field of post-cinematic theatre and performance, challenging our assumptions and expectations about theatre and film.

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Organization students and scholars are able to trace the rise of aesthetics in management studies through the papers presented in this volume. The papers are arranged for individual review or thematic explorations of aesthetic thinking; including review papers and articles that focus on fashion, narrative, theatre, music and craft. This volume is a major contribution for those seeking alternatives to rational and positivist perspectives on management and who are willing to explore those alternatives beyond the usual disciplinary bases.