Search Results

You are looking at 51 - 60 of 66 items for :

  • Film Criticism x
  • All content x
Clear All
Restricted access

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

Restricted access

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

Restricted access

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

Restricted access

On Sinofuturism

Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.

Yunying Huang

so unreal that people feel weightless, deprived of time to digest and properly evaluate what is happening around them. Under this surreal reality, “China is a screen on which the West projects its fears of being colonized, mechanized, and

Restricted access

Grey Gardens and the Problem of Objectivity

Notes on the Ethics of Observational Documentary

Mathew Abbott

there is a kind of dissonance here; either way it is fascinating how her worries about a disconnect between her sense of self and the self she presents are played out theatrically, as though the best way for Edie to deal with her fear of being a mere

Restricted access

Eliza Deac

death he fears” ( Miller 1987: 112 ). The dreaded connotations of writing are partly attenuated by the redeeming force attributed to reading. It is through the intervention of an external agent that the lifeless writing on the page becomes animated

Restricted access

Héctor J. Pérez

visitors to live out their wildest fantasies without fear of their robot hosts, who are prevented by their programming from harming humans. The main plot begins when some of the hosts, led by the oldest and most charismatic, Dolores Abernathy (Evan Rachel

Restricted access

Karen Pearlman

linger, fears he will cause pain, but is impelled to go. The shots selected, timed, and placed by Pape put us in the character’s shoes as we see the vulnerable sleeping figures from his point of view. Pape then emotionally blurs the point of view

Restricted access

Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

with surprise and momentary fear—much like being startled by a moment in a contemporary horror film—because, Bottomore theorizes, they had not yet developed the cognitive abilities to override their psychological reactions to what was then an entirely

Restricted access

Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

under her chest—using the freezer's conditions to emphasize her erect nipples (see Figure 7 ). Her breasts are in the foreground, while her distraught face is blurred in the background. In her greatest moments of fear, she is also the most exposed. She