Book Reviews

in Projections
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  • 1 University College Dublin brendan.rooney@ucd.ie
  • 2 University of Glasgow h.kubicka1@research.gla.ac.uk
  • 3 Calvin College cplantin@calvin.edu
  • 4 Baylor University james_kendrick@baylor.edu
  • 5 University of Copenhagen johriis@hum.ku.dk
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Contributor Notes

Brenden Rooney is Assistant Professor of Psychology at University College Dublin. E-mail: brendan.rooney@ucd.ie

Hanna Kubicka is a PhD candidate at the University of Glasgow. She previously studied at the University of Oxford and Edinburgh Napier University. Her writing has been published in Film International, Film-Philosophy, the Journal of Popular Film and Television, Film Matters, and The Oxford Student. Her research interests include emotional and affective engagement in film and television, audience research, art theory, and the intersections of neurology and film theory. E-mail: h.kubicka1@research.gla.ac.uk

Carl Plantinga is Professor of Film and Media at Calvin College. E-mail: cplantin@calvin.edu

James Kendrick is Associate Professor in the Department of Film and Digital Media at Baylor University. His primary research interests are postclassical Hollywood film history, violence in the media, the films of Steven Spielberg, the horror genre, and media censorship and regulation. He has published three books, Darkness in the Bliss-Out: A Reconsideration of the Films of Steven Spielberg (2014), Hollywood Bloodshed: Violence in 1980s American Cinema (2009), and Film Violence: History, Ideology, Genre (2009), as well as articles in numerous academic journals. He is also the film critic for Qnetwork.com. E-mail: james_kendrick@baylor.edu

Johannes Riis is Associate Professor of Film Studies at the University of Copenhagen. He has published extensively on film acting. E-mail: johriis@hum.ku.dk

Projections

The Journal for Movies and Mind

  • Barrett, Lisa Feldman. 2014. “The Conceptual Act Theory: A Précis.” Emotion Review 6 (4): 292297.

  • Clore, Gerald L., and Andrew Ortony. 2013. “Psychological Construction in the OCC Model of Emotion.” Emotion Review 5 (4): 335343.

  • Hasson, Uru, Ohad Landesman, Barbara Knappmeyer, Ignacio Vallines, Nava Rubin, and David J. Heeger. 2008. “Neurocinematics: The Neuroscience of Film.” Projections 2 (1): 126.

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  • James, William. 1884. “What Is an Emotion?Mind 9: 188205.

  • Lange, Carl George. (1885) 1912. “The Mechanisms of the Emotions.” In Classical Psychologists, ed. Benjamin Rand, 672684. Boston: Houghton Mifflin.

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  • Loschky, Lester C., Adam M. Larson, Joseph P. Magliano, and Tim J. Smith. 2015. “What Would Jaws Do? The Tyranny of Film and the Relationship between Gaze and Higher-Level Narrative Film Comprehension.” PLOS ONE 10 (11): e0142474.

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  • Somers, Eric, Brendan Rooney, and Nicola Porter. 2015. “Viewer versus Film: Exploring the Role of Cognitive Function in Emotion Regulation during Film Viewing.” Paper presented at the Society for the Cognitive Studies of the Moving Image annual conference, London, 17–20 June.

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  • Tan, Ed S.-H. 1995. “Film-Induced Affect as a Witness Emotion.” Poetics 23 (1–2): 732.

  • Tan, Ed S.-H. 2008. “Entertainment Is Emotion: The Functional Architecture of the Entertainment Experience.” Media Psychology 11 (1): 2851.

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  • Carroll, Noël. 2004. “Sympathy for the Devil.” The Sopranos and Philosophy, ed. Richard Greene and Peter Vernezze, 121136. LaSalle, IL: Open Court.

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  • Currie, Gregory. 1997. “The Paradox of Caring: Fiction and the Philosophy of the Mind.” Emotion and the Arts, ed. Mette Hjort, 6377. Oxford: Oxford University Press.

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  • Greene, Joshua, and Jonatan Haidt. 2002. “How Does Moral Judgement Work?Trends in Cognitive Sciences 6 (12): 517523.

  • Krakowiak, K. Maja, and Mina Tsay-Vogel. 2015. “What Makes Characters’ Bad Behaviors Acceptable? The Effects of Character Motivation and Outcome on Perceptions, Character Liking, and Moral Disengagement.” Mass Communication and Society 16 (2): 179199.

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  • Plantinga, Carl. 2010. “‘I Followed the Rules and They All Loved You More’: Moral Judgment and Attitudes toward Fictional Characters in Film.” Midwest Studies in Philosophy 31 (1): 3451.

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  • Raney, Arthur A., and Jennings Bryant. 2002. “Moral Judgment and Crime Drama: An Integrated Theory of Enjoyment.” International Communication Association 52 (2): 402415.

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  • Smith, Murray. 2011. “Just What Is It that Makes Tony Soprano Such an Appealing, Attractive Murderer?” In Ethics at the Cinema, ed. Ward E. Jones and Samantha Vice, 6690. Oxford: Oxford University Press.

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  • Vaage, Margrethe Bruun. 2009. “Seeing Is Feeling: The Function of Empathy for the Spectator of Fiction Film.” PhD diss., University of Oslo.

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  • Vaage, Margrethe Bruun. 2013. “Fictional Reliefs and Reality Checks.” Screen 54 (2): 218237.

  • Vaage, Margrethe Bruun. 2015. “On the Repulsive Rapist and the Difference between Morality in Fiction and Real Life.” In The Oxford Handbook of Cognitive Literary Studies, ed. Lisa Zunshine, 421440. Oxford: Oxford University Press.

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  • Zillman, Dolf, and Jennings Bryant. 1975. “Viewer’s Moral Sanction of Retribution in the Appreciation of Dramatic Presentations.” Journal of Experimental Social Psychology 11 (6): 572582.

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  • Aaron, Michele. 2007. Spectatorship: The Power of Looking On. London: Wallflower.

  • Carroll, Noël. 1998. A Philosophy of Mass Art. Oxford: Clarendon Press.

  • Carroll, Noël. 2014. “Moral Change: Fiction, Film, and Family.” In Choi and Frey 2014: 4356.

  • Choi, Jinhee, and Mattias Frey, eds. 2014. Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship. New York: Routledge.

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  • Downing, Lisa, and Libby Saxton. 2010. Film and Ethics: Foreclosed Encounters. New York: Routledge.

  • Flory, Dan. 2008. Philosophy, Black Film, Film Noir. University Park: Pennsylvania State University Press.

  • French, Peter. 1997. Cowboy Metaphysics: Ethics and Death in Westerns. Lanham, MD: Rowman & Littlefield.

  • Grodal, Torben. 2009. Embodied Visions: Evolution, Emotion, Culture, and Film. Oxford: Oxford University Press.

  • Jones, Ward E., and Samantha Vice, eds. 2011. Ethics at the Cinema. Oxford: Oxford University Press.

  • Kozloff, Sarah. 2013. “Empathy and the Cinema of Engagement: Reevaluating the Politics of Film.” Projections 7 (2): 140.

  • Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview Press.

  • Nussbaum, Martha. 1990. Love’s Knowledge: Essays on Philosophy and Literature. Oxford: Oxford University Press.

  • Oatley, Keith. 2011. Such Stuff as Dreams: The Psychology of Fiction. Malden, MA: Wiley-Blackwell.

  • Sinnerbrink, Robert. 2007. Understanding Hegelianism. Chesham, UK: Acumen Press.

  • Sinnerbrink, Robert. 2011. New Philosophies of Film: Thinking Images. New York: Continuum.

  • Smith, Murray. 1995. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Clarendon Press.

  • Stadler, Jane. 2008. Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics. New York: Continuum.

  • Stam, Robert. 2000. Film Theory: An Introduction. Malden, MA: Blackwell Publishers.

  • Vaage, Margrethe Bruun. 2016. The Anti-Hero in American Television. New York: Routledge.

  • Bacon, Henry. 2013. “Regarding Violence.” Projections 7 (1): 6380.

  • Goldstein, Jeffrey H. 1988. Why We Watch: The Attractions of Violent Entertainment. Oxford: Oxford University Press.

  • Baron, Cynthia, and Sharon Marie Carnicke. 2008. Reframing Screen Performance. Ann Arbor: University of Michigan Press.

  • Brewster, Ben, and Lea Jacobs. 1997. Theatre to Cinema: Stage Pictorialism and Early Film. New York: Oxford University Press.

  • Carnicke, Sharon Marie. 1999. “Lee Strasberg’s Paradox of the Actor.” In Screen Acting, ed. Alan Lovell and Peter Krämer, 7581. New York: Routledge.

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  • Eitzen, Dirk. 2012. “The Nature of Film Comedy, or Why Is Shaun of the Dead Funny?Projections 6 (2): 117.

  • Naremore, James. 1988. Acting in the Cinema. Berkeley: University of California Press.

  • Springer, Claudia, and Julie Levinson. 2015. Acting: A Modern History of Filmmaking. London: I. B. Tauris.

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