This chapter contains the most sustained interrogation of Kubrick's work and I was especially struck by Coëgnaarts's elaboration of screening relationships in this chapter. Maarten Coëgnarts's I Film as Embodied Art i is very much a book that buries the lede and honestly warrants rereading (or beginning with the concluding chapter) to fully grasp the fascinating consequences to understanding the dynamic between film viewer and filmmaker. This book approaches meaning-making in Stanley Kubrick's oeuvre from a cognitivist standpoint, elaborating image schemas, embodied metaphors and metonymies from which the viewer may construe a model of mental causation. [Extracted from the article]