Our emotional responses are determined not only by actual experience, but also by anticipation. Indeed, we respond not only to anticipations per se, but to the relation between anticipations and experiences. Such anticipations operate on different time scales, linked with distinct neurological substrates. Some—such as those involving expectations about the immediate trajectory of objects—are very brief. The relations between experience and very short-term expectations can have significant emotional consequences. One purpose of the standard continuity editing system is to avoid disruptions in our short-term projections. However, the manipulation of discontinuities, thus the controlled disruption of short-term anticipations, can significantly contribute to the emotional impact of film. It is possible to isolate distinct varieties of anticipation and disruption, examining their emotional consequences in different cases. Muzaffar Ali's Umrao Jaan provides a virtual catalogue of such disruptions and their emotional effects.
Our starting point is the idea that Hergé sets up a series of reciprocal links between two of his albums, Les 7 Boules de cristal and Le Temple du Soleil. Over and above simple narrative succession, these two albums fit together like two wings of a diptych across which visual, semiotic and even symbolic elements echo each other. In order to appreciate these fully, the diptych has to be considered from the perspective of a 'rereading', in other words from a standpoint that enables a particular panel or situation to be regarded as a flash forward or flashback. The tracking of this back-and-forth motion seeks to reveal the artistic profundity of Hergé's narrative, where anticipations of later elements or reminders of earlier ones either serve to intensify the dramatic build-up, or, conversely, work to parodic effect (through a distancing impression of 'déjà vu'). These echoes have cumulative effects that contribute to the overall 'intelligence' of the work. Hence our title: 'Figurations and Prefigurations in Hergé's Work, or from Les 7 Boules de cristal to Le Temple du Soleil and Back Again'.
is desynchronised with the text, thus showing an anticipation (prolepsis) of what is going to happen, and second because we can see that the Figure 10 Dr Manhattan’s experience of time corresponds to the matural mode of reading comics. Alan Moore
Suzanne Desan Cultural Revolutions: Everyday Life and Politics in Britain, North America, and France by Leora Auslander
Ivan Jablonka Contested Paternity: Constructing Families in Modern France by Rachel G. Fuchs
Seth Armus Future Tense: The Culture of Anticipation in France between the Wars by Roxanne Panchasi
Peter Soppelsa The Heroic City: Paris 1945–1958 by Rosemary Wakeman
William Poulin-Deltour Living in Arcadia: Homosexuality, Politics and Morality in France from the Liberation to AIDS by Julian Jackson
Andreas Baranowski and Heiko Hecht
One hundred years ago, in 1916, Hugo Münsterberg was the first psychologist to publish a book on movie psychology, entitled The Photoplay: A Psychological Study. We revisit this visionary text, which was an anticipation of the field of cognitive movie psychology. We use the structure of his book to look into advances that have been made within the field and evaluate whether Münsterberg’s initial claims and predictions have borne out. We comment on the empirical development of film studies regarding perceived depth and movement, attention, memory, emotion, and esthetics of the photoplay. We conclude that the most of Münsterberg’s positions remain surprisingly topical one hundred years later.
relational, comparable to touch in connecting the felt “inside” of the feeling person with the “outside” of the world. Third, they involve a presupposed space of experiential possibility, that is, anticipations of what kinds of experiences are generally
Mapping the City in John Rechy's City of Night
demarcate sexuality with “gay” and “straight” boundary lines are futile, as are police efforts to differentiate between “legal” and “illegal” activity. Anticipation about the novel from publishers helped make the book a projected New York Times
The Humboldt Forum and the Myths of Innocence
directly in the German word Unschuld . The second meaning we could call anticipatory, because it asserts the purity of an intention at a particular time in anticipation of its future loss. Innocence here refers to a state of being guileless, uncorrupted
Stephen F. Szabo
. The weakening of Chancellor Angela Merkel’s position and the anticipation that she will leave office during or at the end of this term have made the weakening of Germany’s leadership role in Europe and especially on Russia policy more likely. While
Whither “Partners in Leadership”?
.” Still, their collective memory of 1920s hyperinflation as well as anticipation of a looming retirement wave left them likewise backing austerity. Consequences included commitment to a balanced German federal budget (the so-called “black zero”) by 2015 as