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Johannes Riis

correlated with a person’s state and that “people everywhere can infer something about others from their facial behavior” ( Russell 1995: 383 ). That cannot be taken to mean that facial actions exist in order to signal how we feel, nor that facial actions are

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Philip J. Hohle

affective disposition theory (ADT). Simply to allow for the enjoyment of transgressive stories, ADT suggests that viewers must disengage from their moral frames. 2 David Bleich describes a problem in using quantitative methods to examine this phenomenon

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Jerrold Levinson

brought to bear on their elucidation. The lessons of this book are ones that I earnestly hope will be taken to heart. But I will now proceed to express some reservations on a few of the aspects of the program that Smith sets out to make aesthetic theory

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James E. Cutting, Catalina Iricinschi, and Kaitlin L. Brunick

This article presents a new method to create maps that chart changes across a cinematic narrative. These are unlike narrative spaces previously discussed in the literature—they are abstract, holistic, dynamic representations based on objective criteria. The analysis considers three films (All About Eve, Inception, and MASH) by counting the co-occurrences of main characters within scenes, and 12 Angry Men by counting their co-occurrences within shots. The technique used combines the statistical methods of correlation, multidimensional scaling, and Procrustes analysis. It then plots the trajectories of characters across these spaces in All About Eve and Inception, regions for characters in Inception and MASH, and compares the physical arrangement of jurors with their dramatic roles in 12 Angry Men. These maps depict the changing structures in the visual narrative. Finally, through consideration of statistical learning, the article explores the plausibility that these maps mimic relations in the minds of film viewers.

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Steven Shaviro

André Bazin and Roland Barthes both theorize a cinematic realism based on the indexical ability of the photographic image (the ability of the image to indicate an original object). How are their arguments affected by the advent of digital, nonindexical cinematic technologies? The article considers how a nonindexical realism might be possible, by looking at three recent films: Waking Life, A Scanner Darkly, and Eternal Sunshine of the Spotless Mind.

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Tim J. Smith

The intention of most film editing is to create the impression of continuity by editing together discontinuous viewpoints. The continuity editing rules are well established yet there exists an incomplete understanding of their cognitive foundations. This article presents the Attentional Theory of Cinematic Continuity (AToCC), which identifies the critical role visual attention plays in the perception of continuity across cuts and demonstrates how perceptual expectations can be matched across cuts without the need for a coherent representation of the depicted space. The theory explains several key elements of the continuity editing style including match-action, matchedexit/entrances, shot/reverse-shot, the 180° rule, and point-of-view editing. AToCC formalizes insights about viewer cognition that have been latent in the filmmaking community for nearly a century and demonstrates how much vision science in general can learn from film.

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The Rich Inferential World of Mad Men

Serialized Television and Character Interiority

Jason Gendler

such as Jason Mittell, Robert Blanchet, and Margrethe Bruun Vaage have noted, one of the appeals of serialized television narratives is that their long running lengths offer viewers opportunities for making rich and rewarding inferences about the mental

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Sam Roggen

When Hollywood adopted the anamorphic widescreen process CinemaScope in 1953, many studio filmmakers worried about how to direct spectatorial attention through compositions with an aspect ratio of 2.55:1, or later 2.35:1. 1 While many of their

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Brian Boyd

Seussianness of Dr Seuss. Austen and Seuss are both authors, of course, and David accepts that we engage with auteurs as the organizers of their films, but I think we engage with the “authors” of films far beyond art cinema and what that has taught some film

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Philip Cowan

stylistic comparison to be made between the films they made together and the films they made separately. Although Toland is best known for his work with Orson Welles on Citizen Kane (1941), their collaboration features two striking anomalies. The first is