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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

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

[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

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

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

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

norms of gender, for example, affect the paradigm scenarios about when and how men and women “should” experience and express anger. Noël Carroll (1990) highlights just this feature of de Sousa's theory of emotions in his article defending the so

, behavioural, and existential – between humans and other animals” (87). Crucial to this gulf is what Tallis calls the “normativity” of human behavior: “It is a response involving recognition of a standard or norm that some event or state of affairs fails to

hypothesis ( Blijlevens et al. 2012 ; Haber 1958 ; McCall and McGhee 1977 ), 4 which suggests that people have a preference for stimuli that differ slightly, but not too much or too little, from a norm. Another is the “law” of Yerkes and Dodson (1908

reason that blockbuster film narratives indeed play a significant role in shaping people’s identities and worldview—even more salient in the construction of identity than other means of social norming. One of those strong-effects perspectives is