Temenuga Trifonova's article, translated into Slovene, offers a critique of neuroaesthetics and neurocinematics. Advocates of neurocinematics believe the turn to neuroscience will help film theory go beyond ideological, linguistic and psychoanalytic models, i.e. subject-positioning theories (SLAB theory: Saussure, Lacan, Althusser, Barthes), which draw a pessimistic picture of the subject as ’split’ and ’trapped’ both internally (by unconscious forces) and externally (by various ideological discourses, including the film apparatus itself). The author argues that by positing a looping effect between the brain and the screen, neurocinematics shows itself to be an extension of apparatus theory, although one rooted in neuroscience rather than in SLAB theory.
