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Film as the Engine for Learning

A Model to Assess Film's Interest Raising Potential

Winnifred Wijnker, Ed S. Tan, Arthur Bakker, Tamara A. J. M. van Gog, and Paul H. M. Drijvers

experiments that appraised novelty-complexity of test stimuli (poems, picture, geographical shapes) and estimated ability to understand these were predictors of interest. Interest can be called an epistemic emotion, as it arises in the pursuit of knowledge

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

dwelling for some time on Pedersen, who stands reading in the landscape. The poem being read in this non-naturalistic staging of human activity is Honningsvå g poet Idar Kristiansen’s “Her bor mitt folk” (Here My People Live). The words evoke the rigors of

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

this sense, these aspects serve as the environmental information that Gibson most closely associates with affordances. This is the text of the drama or poem, and perhaps the screenplay of a film. It is the fact that Cheol-ho rubs his aching jaw, not the

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Jens Eder

’s voice singing a song about death, then cuts to a close-up of a clock radio reciting Rilke’s sad poem “Autumn Day.” The protagonist Caden Cotard (named after Cotard’s syndrome and played by Philip Seymour Hoffman) lies in bed and stares tiredly at himself