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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

Yassin, not on an idea of something more. In an interview shot facing down the blurry banks of the Bosporus and spliced in before his reunion with Yassin, Ziad reflects on his decision to leave fighting behind: I feared that I had taken up arms, not to

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

-gender Equality has found that “one in three transgender people, and 48% of transgender men, have delayed or avoided preventive health care such as pelvic exams or STI screening out of fear of discrimination or disrespect.” These conscious decisions to opt out of

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Tru Leverette and Barbara Mennel

, both countries carry forward racialized and racist ideologies that impact social structures and individual lives. Nevertheless, Asava asserts, “rather than solely exploring racial fantasies and fears, mixed films should establish a politics of

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Kata Szita, Paul Taberham, and Grant Tavinor

environmental situation to which they functionally attend, and their physiological and behavioral profile. According to Tomkins, there are nine such affects, including joy, disgust, fear, surprise, and attentional states such as interest. Tomkins's ideas are

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

, there are different ways to analyze the meaning of the affective and gendered scene at the climax of Honeymoon along both theoretical lines. It could symbolize the fear of childbirth, which the couple discusses at the beginning of the film, or it could

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Murray Smith

notes in the Introduction to HA, he conceives “of pleasure … as a broad category that includes any intrinsically rewarding emotional experience (which might involve fear, sadness, anxiety, etc.)” (6). So while “pleasure” in a broad sense

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

sustains social structures ( Berlant 2011: 260 ). At the individual level, this may involve intercorporeal relations—for example, when other people respond to us with fear and we internalize that fear—that change the way we understand and use our bodies

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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

Sandin) stab his older sister repeatedly before she collapses in a pool of her own blood. Viewers may come to feel contempt for Myers and fear him because they experience, and do not just hear about or infer, the suffering and death of his victims

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Jens Eder

of affective phenomena has been neglected not just in philosophy, but also in film theory. 2 In both fields, there has been a tendency “to focus on a fairly standard inventory of emotions and moods, including anger, sadness, fear, joy, grief

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Laura T. Di Summa

of content, in many publications, is increasingly measured by the volume of audience reaction, which really is getting things arse-backwards. ( Indiana 2018, 5–6 ) The fear and skepticism toward the possibility of criticism in the Internet age is