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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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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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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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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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Wyatt Moss-Wellington

our behavior with social norms of responsibility ( Cooper and Fazio 1984 ), or that we are motivated to preserve moral and adaptive self-integrity ( Steele 1988 ). Others attempted more unifying theories ( Stone and Cooper 2001 ) and advocated a return

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

characters. The movie's general experiential dimension, however, deconstructs and deviates from the norms of the genre, and presents an interactive challenge that is mainly based on the absolute impossibility of engaging with a coherent, reliable

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Sam Roggen

-driven approach of the silent era and depth staging, which was popular, although not the norm, in the 1940s and early 1950s. Both strategies implied a less subtle way of integrating detail into the composition, although this had as much to do with the 1.33:1 (or

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

technology changes subjectivity and reconfigures sociocultural norms. The advent of virtual humans and synthespians also challenges what it means to be human in relation to embodied technologies such that the figure of the cyborg has become the main conduit

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

they also complexify viewing experiences by their effect. Thus, on the one hand, the complexity of these films is a constructional one, problematizing mimetic representational norms and rules of classical narratives. By using unusual formal