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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

—crimes characterized by direct physical causation, such as murder and rape—more severely than “impersonal” crimes, such as fraudulent conversion, even though the latter category may affect a far greater number of people than the former. In addition, legal theory

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Lennard Højbjerg

It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.

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Edited by Stephen Prince

shot down by contemporary theory, the category survives and remains a useful one. It remains focused on directors, however, and Philip Cowan gives us a case study of cinematographer Gregg Toland that is aimed at moving beyond the director. Cowan

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Laura T. Di Summa

critical principles) and that even if categories are brought into the discussion, the choice of such categories remains subjective. In both cases, Carroll's response is based on his adherence to the notion of genre and to the categories that can be

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Filippo Contesi

] 2003). On such a view, something is impure if it violates “the boundaries of the deep categories of a culture's conceptual scheme” ( Carroll 1990, 32 ). On the face of it, however, Carroll here provides only a sufficient condition for impurity. So it

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Janet Staiger

following a narrative, style, ideology, or genre (Berliner's four main categories of aesthetic analysis)? 2. What needs to be considered when taking account of the expert historical spectator to which Berliner often refers? For instance, he discusses

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Johannes Riis

at what the actor does may blind us to the performer’s embedment in a narrative context. To think of emotions as expressions of natural categories is tempting, but this may easily overlook how expressiveness reflects specific circumstances. During a

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Jonathan Frome

regarding the circumstances under which we could not categorize a film as erotetic. To identify possible disconfirming circumstances, we can look to Carroll's proposed categories of non-erotetic narrative films: chronicles, episodic films, and modernist

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Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács

analysis. We first tested the validity of the intuitive link between shot-scale categories and the prevalence of face images in our data. Next, we tested whether a shot-scale model would predict shot-scale annotation better than a face-ratio model would

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Murray Smith

notes in the Introduction to HA, he conceives “of pleasure … as a broad category that includes any intrinsically rewarding emotional experience (which might involve fear, sadness, anxiety, etc.)” (6). So while “pleasure” in a broad sense