For the first time “embodied simulation theory” (triggered by the discovery of mirror neurons) is applied to film studies. This represents an important chance to understand how cognitive neuroscience and humanities can find a common ground for research and discussion. The book contains original empirical results which emphasizes the relevance of film aesthetics and techniques, contributing to an update of classical film theory. The empirical results meet in a very natural way the aesthetic of film, suggesting that a serious and virtuous relationship between data and theory is possible, without risking to fall prey of reductionism. The book maintains a historical and aesthetic approach to cinema, demonstrating that cognitive neuroscience does represent a suitable methodology to enlarge the field of research within the humanities. This represents an important chance to understand how cognitive neuroscience and humanities can find a common ground for research and discussion.