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Janet Staiger

film's aesthetics and its consequential pleasures? Moreover, once again, the historical spectator (and ideological differences) appears. One of the major tribulations during Red River' s trail drive is that men begin to desert the crew as food

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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

given the choice of different dates, were informed that three films would be shown, and were told that they would be offered food and beverages in between screenings. The participants were divided into six groups according to their preferred dates; the

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

that it appeared to provide an explanation for how macaques, and by extension human beings, understand the actions of their conspecifics. Researchers speculated that, if the same neurons fire when a monkey reaches for an object, say food, and when the

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Torben Grodal

letters). Four of these have their roots back in our reptilian ancestors: ANGER (aggression), FEAR (sexual), LUST, and SEEKING. SEEKING is a dopamine-supported emotional system that backs up the seeking for future gratifications such as food and sex, but

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Laura T. Di Summa

's preference for savory as opposed to sweet foods—and cannot be expressed objectively. Carroll replies that the objection is misguided in the first place, as both Hume and Kant, who discuss taste and beauty, do allow for the possibility of intersubjective

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

engagement and service. Although the use of AI and synthetic organisms for sex, companionship, labor, or food is naturalized in the futuristic world of 2049 , the film foregrounds issues that are central to intimacy ethics, including emotional attachment

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Kata Szita, Paul Taberham, and Grant Tavinor

food in Cloudy with a Chance of Meatballs . Holliday suggests that in CG films garbage is reenergized and revalued through their impressive digital rendering. Chapter 6 is one of the highlights of the book. It suggests that computer

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

each instance from a different camera position and angle. As such the film not only stresses the miserable existence of its characters (and creatively demonstrate their monotonous dependence on basic food supply), but also exercises a self

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

which we put certain things (food and water) and out of which other things appear. We walk through doors into rooms. We move in vehicles, clothes, and various other bounded regions in space. We put things into and out of containers and so forth ( Johnson

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

he concludes that media violence does contribute to aggressive behavior. By comparing media violence to smoking, candy, and spicy food, Zacks presents the viewer as a passive consumer of harmful or extreme experiences, and argues that merely consuming