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Book Reviews

Jeffrey M. Zacks, Trevor Ponech, Jane Stadler, and Malcolm Turvey

ideological positions (192). The essays in Part IV, “Cinematic Experience,” present further discussions of cinematic experience. Proceedings take a cognitivist turn, beginning with Noël Carroll's attempt to dispel suspicions that cognitive theories of

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Relatable Motives and Righteous Causes; or, Why the Sympathetic Antihero is Not a Moral Psychological Mystery

Jens Kjeldgaard-Christiansen

country, to ideology), rewards (e.g., pay, promotion), fears (e.g., death, displacement), and desires (e.g., status, vengeance). To summarize, whereas high-level construals are abstract and generalizing, low-level construals are particularistic and

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

the corporate interests of financial elites. Extractivism, as she defines it, is an ideology that supports “a nonreciprocal, dominance-based relationship with the earth, one purely of taking” (2015: 169). The cuing of an ecological stance through

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

, the common, and the innovative. Not least, critical interventions—ideology critique, symptomatic readings, cultural criticism—will profit from a varied vocabulary to cover more adequately the many dubious aspects of representation, discrimination or

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Films and Existential Feelings

Jens Eder

, films’ feelings of being may be examined in respect to the politics and ideologies they support. What existential feelings, for instance, haunt us in war documentaries? How do films rhetorically exploit the viewers’ feelings—for instance, feelings of

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

roadmap to aspire, accept, and emulate bourgeois and consumerist values. While this approach has provided insightful perspectives, it has failed to consider the active role of audiences in critically challenging ideological constructs through their

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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

to understand the destructive force of the baby weapon in Lu Yang's film. For example, queer subjects for Edelman are associated with an aberrant force: “Because queer people are imagined as a ‘nonprocreative species,’ they disrupt an ideology of