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
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
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
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
A Cognitive Approach to the Experience of Narrative Complexity in Film
Veerle Ros and Miklós Kiss
). These tags trigger basic, deeply seated emotions (such as fear, anger, joy, and erotic desire) and determine the initial emotional valence that the brain attributes to the perceptual data. Emotions originate from the oldest, deepest parts of our brain
—refuses her. Lynch’s earlier breakthrough Eraserhead (1977), too, presented a feature-length essay on the fear of women’s fertility, childbirth, and infancy, combining images of menstruating poultry and the brutalization of swaddled and spermlike alien
” Clifford's apparently authentic emotion of fear. As he concocts a bit of subterfuge (“I forgot to mention that I should be getting a phone call any minute now”), he contorts his face into a casual smile, but the smile takes effect only on the right side of
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
Rikke Schubart, Mastering Fear: Women, Emotions, and Contemporary Horror (New York: Bloomsbury, 2018), 384 pp., $117 (hardback), ISBN: 9781501336713. Reviewed by Christopher Blake Evernden Rikke Schubart's new book, Mastering Fear
This article explores the question of what we are actually afraid of when we are scared at the movies. It is usually claimed that our fear derives from our engagement with characters and our participation through thought, simulation, or make-believe in fearful situations of the filmic world. These standard accounts provide part of the explanation why we are afraid—this article complements them by showing that we often literally fear for ourselves as well. Concentrating on an anticipatory subspecies of cinematic fear dubbed “dread,” the article argues that we often fear a negative affective outcome, namely our own fearful experience of shock and/or horror that usually ends scenes of dread. By looking at viewers' action tendencies and actions proper activated in dreadful moments, the article suggests that we appraise scenes of dread as potentially harmful to our current (and even future) psychological well-being. Dread thus turns out to be a specific kind of metaemotion.
Malin Wahlberg, Documentary Time: Film and Phenomenology; Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience; Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear
Malin Wahlberg, Documentary Time: Film and Phenomenology (Minneapolis and London: University of Minnesota Press, 2008), xvii + 170 pp., $22.50 (paperback).
Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009), xii + 196 pp., $24.95 (paperback).
Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear (New York and London: Routledge, 2010), xi + 301 pp., $118 (cloth).
This article questions the standard history being constructed about the adoption of digital cinematography in commercial cinema, a narrative whose broad assumptions resonate with industry professionals, including cinematographers. Digital image acquisition is frequently taken to be motivated by an industrial push to cut production costs, which impinges on the creative autonomy of film artists. This perception overlooks parts of Hollywood's current business model concerning production values and theatrical exhibition that will sustain film cinematography in the foreseeable future. These findings then lead the article to address filmmakers and critics who fear that photorealist aesthetics will be supplanted by digital images that possess a different visual signature. Prognostications that the digital look will replace that of film as the norm appear inaccurate.