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Katherine Thomson-Jones

of Jenefer Robinson. Shot composition and editing, as well as scene blocking, are discussed as they affect the way viewers interpret characters’ emotions. And references to film style and cultural norms are used to explain the film’s distinctive

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Lowry Martin

appropriate images to convey the hard reality of Morocco and the silences it imposes on everyone ( Knegt 2014 ). In the context of queer sexualities—those that fail to adhere to heteropatriarchal norms—Taïa has stated that he views this silence as a function

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

are common to all films that we watch, such as critical flicker fusion and apparent motion. It might even give us an understanding of how certain widespread cinematic practices have “piggybacked” onto pancultural norms of behavior (for example, David

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Rainer Reisenzein

contents of internet fan forums) can be useful to substantiate claims about typical user reactions and hypotheses about cultural contents (e.g., beliefs, social norms) that influenced these reactions. Although I thus fully endorse Smith’s proposals for how

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Joerg Fingerhut

such shot patterns ( T. Smith and Henderson 2008 ). Film-experienced viewers might therefore not consciously perceive those cuts due to the attention-guiding mechanisms of skilled filmmakers, but also due to our habituation to certain filmic norms of

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Murray Smith

[Warren Beatty, 1981], Missing [Costa-Gavras, 1982]) will not adopt the aesthetic norms of Soviet montage or Brechtian epic theater. There is a connection between the two motifs I've picked out of HA for discussion. Resistance to the thought that style

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

grounding in the bioculturalist approach, which understands human attitudes, norms, and role models as an interplay of biological and cultural evolution (25). Bacon sees culture as a shaping mechanism for biology. He writes: “Biological factors condition and

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Qihao Ji and Arthur A. Raney

comprehension—like the situation model ( Zwaan et al. 1995 ) and story and character models ( Rapp et al. 2001 )—which suggest that story spectators construct and accept a story’s microworld as it unfolds, including the space, time, and norms of the setting. As

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Stacie Friend

that Smith himself discusses in considering the evolutionary origins of emotion (2017: 130). In short, as a philosopher I am interested in the norms that govern our emotional responses in different contexts. Although this is a normative matter, it is

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

(Ahmed 2014, 63). At the collective level, the culture that we consume can establish an “affective circuit,” for example of pity or guilt , that produces and reproduces ideological norms and practices ( Clough 2012, 22 ). Mass fictions and art forms in