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The dual phase oscillation (DPO) hypothesis recently proposed by Mukhopadhyay (2014), is based on the neural correlate of aesthetic paradox; the paradox referring to a state of simultaneous heightened emotional experience and a state of detached composure during art appreciation. The hypothesis proposed that aesthetic delight is the dynamic, oscillatory balance between Suspension of Disbelief (SOD) and Introspective Detached Contemplation (IDC) and is orchestrated by functional coherence of the Default Mode Network (DMN) of the brain. This article is an extrapolation of the concepts of the DPO hypothesis which here is theoretically integrated with the experience of the art form of film. In film, an important functional aspect of SOD, in addition to other central elements, is the suppression of the literal identity of the performer in the narrative performance and an overall suspension of the awareness that the art form is staged. Docu-fiction film, a developing genre in contemporary filmmaking, attempts to capture documentary reality while simultaneously introducing fictional elements in the narrative. The article proposes that in docu-fiction film, the SOD-IDC dynamics of both a fiction film and a documentary film operates oscillating in a bigger scenario and the preconceived mindset of the audience cannot offer a stable expectancy regarding the genre of the film which introduces the element of ambiguity. Thus docu-fiction film-making exploits the unique attributes of the art form of film (by portraying verisimilitude as well as imaginative abstraction and fiction) at its fullest following the DPO hypothesis. [ABSTRACT FROM AUTHOR]

The definition of 'Archetype' typically refers to an original which has been imitated. The origin of the concept of Archetype in the traditional sense of the term refers to the primitive, universal perceptual imprint - a theory that dates back to Plato. The idea of the archetypal image is conceptually integrated with the aesthetics of visual arts and discussed under the guise of widely researched equivalent terms. The philosophical and scientific propositions on the concept of Archetype with reference to visual arts tended to have a neurological constitution even from ancient times. Starting from the 1990s, a radical outlook emerged in the field of cognitive aesthetics in the form of 'neuroaesthetics' which shows a significant potential in dealing with the problem of construction of the symbolic system in visual arts. Does the represented image of an aesthetically appealing artwork have structured within it the roots of an archetype? Is it innately constructed? And finally, is there at all any difference between pattern recognition among humans and other animals and the philosophical descriptions of Ideal, Form and Archetype? The review tries to interpret the development [ABSTRACT FROM AUTHOR]