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The Cine-Fist

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

Maria Belodubrovskaya

experience high-level and other-directed emotions such as admiration and pity. In contrast, simulation theory (or embodied simulation theory), which is based on the mirror mechanism, may explain self-directed and sensory emotions, such as fear and disgust

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Dan Flory

racialized disgust. Of course, some viewers may have resisted imagining Avatar for other reasons as well, such as feelings of disdain, distaste, contempt, loathing, fear, anger, or hatred toward the Na’vi. All these reactions are certainly possible. But my

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Film, Art, and the Third Culture

A Naturalized Aesthetics of Film—Précis

Murray Smith

particularity? How much illumination of artworks can a focus on such basic states as fear, disgust, and anger really provide? In Chapter 8, “Feeling Prufish,” I meet this objection half-way. The significance of genre categories shows that we do not understand or

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

studies the construction of the work and not its effects as well. After all, in Aristotle's Poetics , a work Gil often cites, the great philosopher defined tragedy as an “imitation of … events inspiring fear or pity” ( 2005: 29 ) and the effort to show

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Joerg Fingerhut

scenes because we see in them Scottie’s perspective burst back on him (in the case of Vertigo ) or police chief Brody’s fears encroach on him when the shark attacks (in the case of Jaws ). Such visual transformations in film become aesthetically

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Philip J. Hohle

characteristic strategies for dealing with those deep fears and wishes” (1980: 124). The concept of schema is related to what Qi Wang and others call the autobiographical self , defining it as “the self in time. It is the kind of self-knowledge that builds upon

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Andreas Baranowski and Heiko Hecht

of subliminal manipulation of viewers, no conclusive evidence supports such fears ( Wiseman 2009 ). Depth and Movement Depth Münsterberg became the first of a number of theoreticians, including André Bazin and Christian Metz, to point out the strong

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

Thrillers: The Aesthetic Paradox of Pleasurable Fear . New York : Routledge . Henderson , Brian . 1983 . “ Tense, Mood and Voice in Film (Notes after Genette) .” Film Quarterly 36 ( 4 ): 4 – 17 . 10.2307/3697090 Hoberman , James . 2012 . “ A Search

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Sermin Ildirar and Louise Ewing

participants’ judgments of the target face stimulus in each of the five emotional conditions (happiness, sadness, hunger, fear, and desire), with the most pronounced effects observed for sadness. Prince and Hensley (1992) suggested that the “naïveté of early

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

sexual and domestic violence, concluding that these depictions “derive at least partly from a mixture of misogyny and fear of women” (149). The final chapter, on relational and structural violence, is simultaneously the book’s most fascinating, important