Triangulation Revisited

What is the relationship between detailed critical analysis and the background assumptions made by a given theory of film spectatorship? In this article, I approach this question by looking at Vittorio Gallese and Michele Guerra's The Empathic Screen in the light of the method of triangulation-the coordination and integration of phenomenological, psychological, and neuroscientific evidence, as set out in my Film, Art, and the Third Culture. In particular, I examine Gallese and Guerra's arguments concerning the role of camera movement in prompting immersive, embodied simulation, as well as critiques of these arguments from David Bordwell and Malcolm Turvey. I focus on the special, irreducible role of critical analysis in these arguments. Detailed analysis of film form and style plays an essential role, I argue, in demonstrating the plausibility (or otherwise) of the thesis advanced by Gallese and Guerra. Such analysis is where the rubber of theoretical assumptions meets the road of the material work.