Table Of ContentCinematic Metaphor in Perspective
Cinepoetics
Edited by
Hermann Kappelhoff and Michael Wedel
Volume 5
Cinematic Metaphor
in Perspective
Reflections on a Transdisciplinary Framework
Edited by
Sarah Greifenstein, Dorothea Horst,
Thomas Scherer, Christina Schmitt,
Hermann Kappelhoff, and Cornelia Müller
ISBN 978-3-11-061223-3
e-ISBN (PDF) 978-3-11-061503-6
e-ISBN (EPUB) 978-3-11-061388-9
ISSN 2569-4294
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screenshots were captured by the authors.
Library of Congress Control Number: 2018951329
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detailed bibliographic data are available on the Internet at http://dnb.dnb.de.
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Cover image: Film still from spellbound (Alfred Hitchcock, USA 1945)
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Acknowledgements
The transdisciplinary framework of cinematic metaphor (Müller and Kappelhoff
2018), and the reflections on it in this edited volume, are the outcome of research
enabled by Cinepoetics, Center for Advanced Film Studies at the Freie Universität
Berlin (funded by the German Research Foundation). Within the frame of its first
annual theme ‘Metaphor – Film Images, Cinematic Thinking, and Cognition’
(2015/16), various invited research fellows, project associates, and other visitors
to Cinepoetics brought their expertise from different disciplinary backgrounds
to colloquia, workshops, and film-analysis sessions. We are grateful for their
engaging and inspiring contributions to our work from which we greatly ben-
efited. In particular, we thank our authors Lynne Cameron, Alan Cienki, Anne
Eusterschulte, Kathrin Fahlenbrach, Ray Gibbs, and Michael Wedel for their stim-
ulating and enlightening contributions to this edited volume, thereby creating a
temporary stabilization in the flow of our process of joint thinking and exchange.
During the biennial conference of the Association for Researching and
Applying Metaphor (RaAM) that we hosted in Berlin in 2016 with a focus on
‘Metaphor in the Arts, in Media and Communication’, we had the opportunity to
extend the scope of our discussion to an international community of metaphor
scholars through a Cinepoetics Roundtable. We thank all participants for their
productive questions, comments and reactions.
Beyond being a contributing author, Lynne Cameron took on an important
role as a ‘book coach’ for this edited volume, bringing in her rich academic exper-
tise and providing us with support, inspiration, and motivation during the entire
publication process. Thanks to her lucid suggestions and supportive compan-
ionship the book project became an exciting and enjoyable joint journey. We are
deeply grateful to her for making this journey together with us.
Throughout the publication process, Eileen Rositzka was an extremely
helpful and always cheerful adviser accompanying the communication with the
publisher. We thank Stella Diedrich and Anna Hofsäß from De Gruyter for their
support and advice in preparing the book for publication.
We are grateful to Amber Shields, Mary Hennessy and Lynne Cameron for
their meticulous reading and for polishing the English throughout the book.
Without the work of our student assistants Derya Demir, Philine Mayr and
Raphael Schotten, the publishing process could not have been realized so
smoothly. We gratefully acknowledge their commitment and support in preparing
the manuscript for publication.
Berlin, June 2018
Sarah Greifenstein, Dorothea Horst, Thomas Scherer, Christina Schmitt,
Hermann Kappelhoff, and Cornelia Müller
https://doi.org/10.1515/9783110615036-201
Contents
Acknowledgements V
Sarah Greifenstein, Dorothea Horst, Thomas Scherer, Christina Schmitt,
Hermann Kappelhoff, and Cornelia Müller
Introduction 1
Lynne Cameron
From Metaphor to Metaphorizing:
How Cinematic Metaphor Opens Up Metaphor Studies 17
Michael Wedel
Murnau and Metaphor:
From Cinematic Expressionism to Cinematic Expressive Movements 36
Alan Cienki
Insights for Linguistics and Gesture Studies from Film Studies:
A View from Researching Cinematic Metaphor 53
Kathrin Fahlenbrach
Moving Metaphors:
Affects, Movements, and Embodied Metaphors in Cinema 69
Anne Eusterschulte
Actio per distans:
Blumenberg’s Metaphorology and Hitchcock’s rear window 93
Raymond W. Gibbs, Jr.
Our Metaphorical Experiences of Film 120
Name Index 141
Subject Index 144
About the Authors 146
About the Editors 149
Sarah Greifenstein, Dorothea Horst, Thomas Scherer,
Christina Schmitt, Hermann Kappelhoff, and Cornelia Müller
Introduction
What is cinematic metaphor?
What distinguishes interdisciplinary from transdisciplinary work is what sepa-
rates a simile from a metaphor. Both interdisciplinarity and simile place their two
benchmarks side by side, as separate and distinct, and, on this basis, suggest
similarity or comparability. Transdisciplinarity and metaphor on the other hand,
remove their referential realms from such a self-contained state and bring them
together with the result that the two compose something new, something shared
that is more than the sum of its previous parts. Both referential realms give up
their isolation and self-containedness in order to come together into existence
as something third through an experiencing and understanding in terms of the
other.
As a transdisciplinary theoretical and methodological approach, Cinematic
Metaphor emerged and developed from a collaboration between film studies
and linguistic metaphor research along with integrative exchanges on different
disciplinary perspectives at Cinepoetics, Center for Advanced Film Studies at the
Freie Universität Berlin. The monograph of Müller, Kappelhoff, and colleagues –
Cinematic Metaphor. Experience – Affectivity – Temporality (2018) – is the outcome
of this longstanding work and of numerous fruitful discussions on metaphor in
audiovisual media and face-to-face interaction. Starting from the media-character
of audiovisual images as cinematic movement-images rather than as ‘moving
images’, the book develops a theoretical and methodological framework for
metaphor in audiovisual media as performative action which is grounded in the
dynamics of viewers’ embodied intersubjective experiences with film.
This framework constitutes the key reference for this edited volume, Cinematic
Metaphor in Perspective. Reflections on a Transdisciplinary Framework with con-
tributions from applied and cognitive linguistics, film and media studies, media
history, philosophy, and psychology. As a companion volume to Cinematic Metaphor.
Experience – Affectivity – Temporality, it addresses the transdisciplinary exchange
on cinematic metaphor that has both set the stage for its emergence and advanced its
further development over the past ten years. The contributing scholars explore how
the framework of cinematic metaphor inspires their views of metaphor in film and of
metaphor theory and analysis more generally. In this light, the essays of this edited
volume provide insight into the contributors’ (transdisciplinary, metaphorical)
https://doi.org/10.1515/9783110615036-001
