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Patrick Colm Hogan

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.

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Andreas Baranowski and Heiko Hecht

Abstract

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.

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Film as the Engine for Learning

A Model to Assess Film's Interest Raising Potential

Winnifred Wijnker, Ed S. Tan, Arthur Bakker, Tamara A. J. M. van Gog, and Paul H. M. Drijvers

or anticipation of comprehension. The balance between novelty-complexity and anticipated comprehension fuels interest at any moment throughout engagement with the object. Interest experienced in an educational context gives rise to the action

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Beyond Binaries, Borders, and Boundaries

Mapping the City in John Rechy's City of Night

Eir-Anne Edgar

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

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Gary Bettinson

space, these portentous posters ratchet suspense and sharpen our anticipation of impending conflict. 9 This last example points to another characteristic function of Lumet's staging: narrative foreshadowing. Across his oeuvre, Lumet utilizes staging as

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

, as scenes of dread in horror films and psychological thrillers are often, albeit not always, followed by moments of shock. In dread, experienced time is marked by a strong form of anticipation: we scan the imminent temporal horizon in “search” of a

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

and was not thinking in terms of narrative integration does not diminish this fact. In Moving Viewers , Plantinga proposes that “narrative emotions”—such as “anticipation, suspense, and curiosity” elicited by narration—are primary to how we engage

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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

, fidgeting continuously between moments of sheer restlessness, boredom, and pronounced anticipation” ( 2004: 284–287 ). Similarly, Patrice Petro finds Warhol’s and Akerman’s films marked by an “an aesthetics of boredom [that] retains the modernist impulse of

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

incline for an extended duration, mobilized by the psychological anticipation of a realizable goal, only to have that goal fail repeatedly. Of course, any ancient Greek or postclassical consumer of this depicted scenario must be willing to suspend the

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Jens Eder

, anticipations of what kinds of experiences are generally possible in the world. Finally, they provide a background to other experiences as “ways of finding oneself in the world and with other people, which shape all experience, thought and activity” ( Ratcliffe