Developing a “second-generation” approach to film narrative, and drawing on embodied cognitive science and theories of kinesthetic empathy, this article uses Thomas Arslan's film The Fine Day (Der schöne Tag, 2001) as a case study to elucidate the crucial role of camera mobility in the films of the “Berlin School.” It proposes that the viewer's embodied response to camera movement establishes his or her involvement with the storyworld and its characters. At the same time, the article shows that the viewer's embodied engagement is central to the exploration of the film's thematic concern with emotions as experienced and recounted in cinema and everyday life. The article thereby reflects on fundamental aspects of how film narration relies on our bodies to create atmosphere and mood as central aspects of a storyworld.

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