Abstract Digital theatre broadcasting has risen in popularity, yet it remains relatively novel, meaning the production norms for such content have yet to be established. We measured heart rate synchrony within three live streamed performances and provided data to the filming team to inform the creative direction for the following performance. The audience demonstrated greater heart rate synchrony on the final night compared to the first two nights and rated the final night as significantly more enjoyable. We also measured movement data and narrative engagement and found that movement negatively correlated to narrative engagement and narrative engagement positively correlated with enjoyment. These results highlight the benefits of using physiological assessment of moment-by-moment audience experience and the potential for these data to shape the creative process.

Abstract As a prime example of the time loop genre, Edge of Tomorrow (Doug Liman, 2014) deals with the experience of time. But not only does it present the macroscopic time distortion of a character trapped in a day-long time loop; it also draws the viewer to experience the characters’ subjective dimensions of the instant. Doing so, it proposes a psychological exploration that is relevant even for us ordinary denizens of non-looping time. In this article, I will argue that the movie succeeds in immersing the viewer in the microscopic level of the “psychological moment” by means of the combination of two devices within the context of a time loop: first, the entanglement of the epistemic states of the characters and of the viewer; second, the inchoate romance between the two main characters.

Philippa Gates and Katherine Spring. Resetting the Scene: Classical Hollywood Revisited. Detroit, MI: Wayne State University Press, 2021, 304 pp., $36.99 (paperback), ISBN: 9780814347799. Jeffrey West Kirkwood. Endless Intervals: Cinema, Psychology, and Semiotechnics around 1900. Minneapolis: University of Minnesota Press, 2022, 256 pp., $28.00 (paperback), ISBN: 9781517912543. Adriano D'Aloia. Neurofilmology of the Moving Image: Gravity and Vertigo in Contemporary Cinema. Amsterdam: Amsterdam University Press, 2021, 254 pp., €110.00 (hardback), ISBN: 9789463725255. Amanda Lagerkvist. Existential Media: A Media Theory of the Limit Situation. Oxford: Oxford University Press, 2022, 256 pp., $110.00 (hardback), ISBN: 9780190925567.

Noël Carroll. Philosophy and the Moving Image. Oxford: Oxford University Press, 2021, 416 pp., $80.00 (hardcover), ISBN: 9780190683306. Catharine Abell. Fiction: A Philosophical Analysis. Oxford: Oxford University Press, 2020, 208 pp., $73.00 (hardcover), ISBN: 9780198831525. Carol Vernallis, Holly Rogers, Jonathan Leal, and Selmin Kara, eds. Cybermedia: Explorations in Science, Sound, and Vision. London: Bloomsbury, 2021, 472 pp., $48.55, ISBN: 9781501357039. Julie Lambden. Film Editing: Emotion, Performance, and Story. London: Bloomsbury Academic, 2022, 232 pp., $56.65 (paperback), ISBN: 9781474254908.

Abstract This special issue is dedicated to research on cognition, stigma, and inclusion in film and media studies. We aim to highlight existing research in cognitive media theory and social justice, and also to bring in diverse perspectives from adjacent fields to foster interdisciplinary research into the future. In bringing these voices together, we hope to demonstrate the diverse nature of current research in cognitive film and media theory, and to disentangle cognitive traditions from their place in a historic binary opposition of cognitive and cultural approaches in screen studies.

Håfa adai, or hello in my native CHamoru language.I'm a guest on the unceded lands of the Tongva people.As the guardian of the Pasifika ancestors resting and the ancestors emerging at PIEAM, we are in the Indigenous practice of to take care of.Here is a brave space of possibility, suggesting new ways of building healing cultures of care, and to protect biodiversity.For a moment, let's catch a ride on the Marshallese waves to the Carolinian skies.Here in this space, we do not practice the colonial preservation syndrome, which is equal to embalming.We recognize our ancestor in the form of the sail-our relative of the pandanus tree.With the rising sea levels, may this place never be the last time myself, my children, my grandchildren, seven generations out, have to see their relatives of the pandanus tree, a coconut tree, a limestone, a kauri.We work to ensure that Pacific Islanders are seen, empowered and united by being more than a museum.When Pasifika don't feel seen anywhere else, they know their humanity will be honored here.We always say, "Ask permission, not of us, but of the ancestors, and grant yourself permission."We listen deeply and develop the voices of artists through intergenerational mentorship, with sacred space for cultural keepers.As one of our partners stated, PIEAM is a space that understands that cultural legacy is power and encourages artists to use this power in their daily practice.We use art as a tool for activism and expanding narratives.We believe that being united is not about sameness; it's about acknowledging our multiplicities.We practice the Indigenous principles of reciprocity and respect.This we must do for all the little spirits on this human journey.

Abstract 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 cross the on-screen/off-screen border within diegetic space, (2) sound vectors that shift from one diegetic time and/or space into another, and (3) sound vectors that cross the diegetic/non-diegetic border. The theoretical entailments of these patterns for film sound analysis will be illustrated through various case examples of narrative cinema.

Ana Hedberg Olenina. Psychomotor Aesthetics: Movement and Affect in Modern Literature and Film. New York: Oxford University Press, 2020, 416 pp., $36.95 (paperback), ISBN: 9780190051266.Jennifer O’Meara. Engaging Dialogue: Cinematic Verbalism in American Independent Cinema. Edinburgh: Edinburgh University Press, 2018, 218 pp., $29.95 (paperback), ISBN: 9781474420624.Malcolm Turvey. Play Time: Jacques Tati and Comedic Modernism. New York: Columbia University Press, 2019, 304 pp., $30.00 (paperback), ISBN: 9780231193030.Neil Cohn. Who Understands Comics? London: Bloomsbury, 2020, 240 pp., $42.75 (paperback), ISBN 978-1-3501-5603-6.