نوع مقاله : مقاله پژوهشی
نویسنده
دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
In recent decades, Lisa Feldman Barrett’s theory of constructed emotion (TCE) has become one of the most influential interdisciplinary frameworks in cognitive science and affective psychology by redefining the relationship among the brain, the body, and feeling. This study adopts a qualitative, interpretive approach and, using theory-driven narrative analysis, seeks to reread the mechanisms of emotion construction within animated storytelling and to show how the brain’s predictive logic is represented in contemporary animation. The research data are drawn from an examination of the plot and narrative–affective sequences of two animated films—The Red Turtle (2016) and The Wild Robot (2024)—as case studies. The analysis is grounded in a proposed six-level analytical model in which the main components of Barrett’s theory (core affect, emotion categorization, prediction and prediction error, allostatic regulation, cultural embodiment, and the emotional teleology) are translated into corresponding levels of plot. The analytical procedure is as follows: first, Barrett’s theoretical framework and the analytical model are formulated; next, each animation is analyzed separately across the six levels; then, the results are compared from a comparative perspective; and finally, the theoretical and interdisciplinary implications are discussed. The findings indicate that both works recreate the predictive brain’s mechanism in the making of feeling, but with different orientations: The Red Turtle frames emotion within the horizon of nature and the silence of the natural body, whereas The Wild Robot extends it within an artificial, linguistic, and interspecies milieu. In the former, the human body reaches bioregulatory balance through direct contact with the world; in the latter, a network of human, animal, and machine bodies achieves affective co-regulation. Accordingly, emotion in animation is not merely the representation of feeling; it functions as the plot’s internal logic—an algorithm of prediction, error, and recalibration through which meaning is generated. The results suggest that, in contact with visual narrative, Barrett’s theory moves beyond a strictly neuroscientific explanation and approaches a “constructive ontology of emotion,” a view in which feeling is not merely a bodily reaction but a mode of perceiving the world and the self. By linking neuroscience, narratology, and aesthetics, this study opens a new horizon for interdisciplinary research on animation and theory of mind.
کلیدواژهها [English]
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