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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

provided adequate answers to these questions. As Carl Plantinga has noted in Moving Viewers, “much more attention is generally paid to empathy and sympathy than to antipathy, indifference, and mixed feelings, as though viewers were prone to compassion and

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Laura T. Di Summa-Knoop

the latter is understood as something capable of “expanding” our minds, a hypothesis that Smith supports and strongly relies on. And the second is because multifaceted, shifting, and complex moral affiliations, and antipathy, may stem not just from

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Murray Smith

clearer on both the implied moral stance of a work, as well as the degree to which it adheres to or departs from generic patterns of sympathy, antipathy, empathy, and counterempathy. This point about the importance of our emotional responses to characters

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

“actual” viewers persists and features prominently. Vaage discusses viewers’ online responses, especially when analyzing viewers’ antipathy toward Walter White’s wife, Skyler. She also utilizes and questions her own emotional engagement with the shows she

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Ted Nannicelli

starting point for constructing an analogous “structure of antipathy.” Our issue is rounded out with four reviews of important and exciting new books, but Kjeldgaard-Christiansen's discussion of the cinematic construction of moral agency and moral

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Laura T. Di Summa

pay attention to if we are to appreciate it. Critics write what it is to experience wonder, awe, frustration, antipathy, and the whole set of affective responses that accompany the reception of artworks. Students in my philosophy of motion pictures