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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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Ethical Engagement with Movies

Response to Carl Plantinga's Screen Stories

Cynthia Freeland

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

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Philip J. Hohle

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

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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

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

conception of horror as a “dark stage,” one that has a special appeal to women because it challenges gender expectations and norms (4). A great strength of the book is Schubart's embrace of “anecdotal evidence” in her analysis. This gives the text an

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Kata Szita, Paul Taberham, and Grant Tavinor

the game, these characters appear also as part of the game's mechanisms, which resonates with what Bernard Perron later in this volume labels as “gameplay emotions.” If a character is the representation of another player, the norms of social engagement

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Post-Carroll

Functional Elements of the Moving Image

Philip Cowan

widescreen format (1.85:1), or sometimes Cinemascope (2.35:1). Historically 1.33:1 was the norm. The frame-line limits what the viewer can see and contains the image. Other forms like moving billboards and gifs still invariably have a limited frame, and

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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

, and conventional morality, have acted to stabilize the norms and values in place. He suggests that the ideological hold of such authorities has become broken “by decades of challenge and change and eroded by the dissolving powers of global flows

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

language philosophy” through our “ordinary experience of being in the world” and the “ordinary practice of film-going” to “ordinary cinema” (Hollywood as the norm and all other cinemas are the exception) and our “ordinary” or “natural” relation to

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In Pursuit of Masculinity

On Aging Bodies, Migration and Youthful Masculinities

Usman Mahar

; Reichstadt et al. 2010 ; Wentzell 2017 ). As such, aging cannot be understood as a standalone life process. The role of individual life-histories, in conjunction with gendered norms, socialized bodies, and “emotional practices,” is therefore integral to a