Cognitive Aesthetics, Neurosciences and Filmed Opera

Abstract

The introductory pages of this contribution deal with one of the main discussions in the field of media studies with a possible impact on an aesthetic interpretation of filmed opera: the opposition between spectacle and narration as described by Andrew Darley. In opposition to Darley’s theory, or its possible application to filmed opera, I posit the hypothesis that the increased visibility of the actions and gestures in filmed opera enhances the audience’s attention to the narrative as one of the salient features of its aesthetic experience. The main section of this article will examine some findings in the fields of cognitive aesthetics and neurosciences as a support for a deeper understanding of the hypothesis proposed above.