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Wyatt Moss-Wellington

resolved . ( Nochimson 1997: 201 ) Nochimson also refers to dissonance in meanings attributed to popular culture, as she says of Blue Velvet (1986): “the performance of popular music will take on a more profound and complex meaning as it evokes not only

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

involved in dramatic performance. Bharata defines rasa in the following way: [R]asa is so called because it is something savored. … Just as discerning people relish tastes when eating food prepared with various condiments and in doing so find pleasure

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

: New Riders . Gemser , Gerda , Martine Van Oostrum , and Mark A.A.M. Leenders . 2007 . “ The Impact of Film Reviews on the Box Office Performance of Art House versus Mainstream Motion Pictures .” Journal of Cultural Economics 31 ( 1

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

intellectual construct and laying the groundwork for her interest in horror cinema as a playground for curiosity about fear. In crafting this discussion, Schubart also effectively short-circuits “assumptions about body, sex, and performance” as ideas

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

system encompassing actor training and stage performance based on a series of carefully calculated and regularly practiced movements and poses. According to Meyerhold, biomechanics implied “the mastery of movement in relation to stage space and of one

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Andreas Baranowski and Heiko Hecht

.1111/1467-9280.00183 Hochberg , Julian . 1986 . “Representation of Motion and Space in Video and Cinematic Displays.” In Handbook of Perception and Human Performance, Vol. 1. Sensory Processing and Perception , ed. Kenneth R. Boff , Lloyd Kaufman , and James P

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Todd Berliner

pleasure”? I think we can better describe it as the pleasure of finding “uniformity amidst variety,” to quote Francis Hutcheson ([1725] 2008, I.II.§III), a key concept in Hollywood Aesthetic . Keating wants to stress the unity of the performance, but we

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Murray Smith

representation of the action by means of staging, performance, camerawork, editing, and so forth; in other words, the role of style here is not merely to depict action with clarity, but to get the game of representation going in the first place. (No film

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

return to), its assertion that I must have already performed a movement and know its meaning by way of its neural representation in order to understand its performance by another, the mirror neuron simulation theory of action understanding seemingly

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

aesthetic merits of film (the rhythms of tap-dancing, say) are superficial, but no less significant for that which a single-minded concern with meaning can obscure. Other merit qualities, such as those of performance or texture or tone or mood, can be