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Murray Smith

challenge or invert conventional wisdom on central aspects of the Hollywood aesthetic: on the roles of style and ideology , respectively. Pull Up to the Bumper Berliner lays out five functions of style (“the distinctive and patterned use of the

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Hollywood Aesthetic


Todd Berliner

films complicate formal patterning and thwart audience expectations. They do so by combining classical narrative, stylistic, ideological, and genre properties with some fairly bold (by Hollywood standards) deviations from normative practices

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Book Reviews

Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

.95 (paperback). $145 (hardback), ISBN: 978-1-13882-615-1. Reviewed by Carl Plantinga The recent interest in the ethics of film and television and the willingness to actually call this interest “ethics” rather than “ideology” or “politics” is a promising

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

, following Ben Brewster (2012) , that for Eisenstein attractions themselves were never the goal, as they might have been in the cinema of attractions (see also Brewster 2004 ). Attractions were a means of achieving overall psychological and ideological

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Die Hard as an Emotion Symphony: How Reptilian Scenarios Meet Mammalian Emotions in the Flow of an Action Film

Torben Grodal

): 283 – 300 . Berlyne , Daniel . 1971 . Aesthetics and Psychobiology . New York : Appleton-Century-Crofts . Boyd , Robert , and Peter Richerson . 1998 . “The Evolution of Human Ultrasociality.” In Indoctrinability, Ideology and Warfare , ed

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

involving Mino, Romilde, and his baby daughter, since the narrative has put in place distinct objects of emotion to which he may respond. Conclusion There may have been ideological reasons for Kuleshov’s and Pudovkin’s emphasis on the constructivist power of

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One Hundred Years of Photoplay: Hugo Münsterberg’s Lasting Contribution to Cognitive Movie Psychology

Andreas Baranowski and Heiko Hecht

and Emotional Contexts .” Perception 45 ( 8 ): 847 – 874 . doi:10.1177/0301006616638595 . 10.1177/0301006616638595 Baudry , Jean-Louis . 1974 . “ Ideological Effects of the Basic Cinematographic Apparatus .” Film Quarterly 28 ( 8 ): 39

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How Viewers Respond to Transgressive Protagonist-Heroes in Film

Philip J. Hohle

difficult text—the invitation of postmodern filmmakers with a love for ambiguity. Like an enthymeme in logic, the storylines provide enough flex from a missing or senseless premise that the gap allows the viewer to complete an ideological argument in a way

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Hollywood Aesthetic: Pleasure in American Cinema

A Reply to Critics

Todd Berliner

to Part 3 on style and Part 4 on ideology in Hollywood cinema. I am going to ignore all of the lovely things he, and the other respondents, had to say about my book and focus on the more provocative negative criticisms. Smith correctly separates my

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Speculating about Spectatorship

Janet Staiger

following a narrative, style, ideology, or genre (Berliner's four main categories of aesthetic analysis)? 2. What needs to be considered when taking account of the expert historical spectator to which Berliner often refers? For instance, he discusses