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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

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

: 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

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

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

.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

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

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

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

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