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Monstrous Masses

The Human Body as Raw Material

John Marmysz

that the body, in being what it is, opens the door to something it is not. In Max Renn, we find a rare sort of film character. He is someone who undergoes agonizing bodily abuse, but who comes to embrace the transformations that this abuse makes

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

a film character. These dramatic situations are culled from a broad range of historically and geographically diverse films, illustrating the way in which filmmakers working within different traditions and historical contexts have nonetheless created

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Catalin Brylla and Mette Kramer

one that has predominantly centered on fiction films. Character engagement is related to the narrative orchestration and aesthetic attributes of the film text and to the fundamental question of whether the engagement happens on an empathetic or

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

interdisciplinary virtual human research, literary scholar and computer scientist Johan Hoorn has conducted qualitative and empirical studies investigating audience engagement with film characters, avatars, and robots in order to model humans’ cognitive

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

are also pervasive in those filmic expressions that convey information about the perceptual states of film characters ( Coëgnarts and Kravanja 2014 , 2015a , 2015b ). Exposing the relationship between the situational dimensions of character

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Jens Eder

film: Characters, narrators, or filmmakers voluntarily or involuntarily show their feelings to other characters, to narratees, or to the viewers by certain signs of the body, of speech, or of the film itself. But beyond that, a film can be called