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it existed in the work of literary scholars such as Seymour Chatman in the mid-1980s into a systematic theory of film narration; he draws on the constructivist tradition in cognitive psychology to explain how viewers comprehend narrative films; and he

eras that reflect the zeitgeist in terms of research questions, theoretical frameworks, and methodology in narrative comprehension research. The first (mid-1970s–mid-1980s) provided the psychological grounding for Bordwell. This era primarily focused on

also Californians who lack the more conservative American values). For most of the film, John is in a dirty undershirt or naked, whereas the archenemy is dressed in a jacket and tie. The firm is even a Japanese company, and Japan was in the 1980s

viewer comprehends particular scenes characterized by such discrepancies. To address this issue, we draw on two influential theories of discourse comprehension of the 1980s and 1990s, namely (1) the theory of situation model or mental model construction

in artistically relevant ways. The Huppertz score, composed in Weimar Germany, invokes Wagner and Strauss, while Moroder’s score evokes a sense of 1980s postmodern pastiche—two very different sonic atmospheres that complement the image track in quite

Indiana, an iconic critic for the Village Voice , published a collection of his columns, mostly published in the 1980s ( Indiana 2018 ). He begins his “prelude to a preface” with a sardonic rant against the dissolution of criticism, and, of course

gaming culture in the 1980s, the affective quality of video games was not attributed to their captivating emotional content, but instead to social scenarios in which they played parts. Among others, Thomas W. Malone (1980) , Geoffrey Loftus and

Gunning’s “cinema of attractions,” a mode of filmmaking that, according to Gunning, was prevalent in the first decade of motion pictures. Since Gunning’s conception, developed in the 1980s, contrasts the cinema of attractions with the cinema of narrative

” (478). This rather startling assertion brings us back to my earlier observation that Reinventing Hollywood marks a significant adjustment and perhaps even a radical turn for David Bordwell, who since the 1980s has been the foremost theorist and

follows I offer a close look at a corpus of DVD-to-celluloid works dating from the late 1980s through the early 2000s. I look closely at three 16 mm films, The Secret Garden (1989), The Snowman (1995), and Walking Distance (1999). All three films may