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J. Brandon Colvin

People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.

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Stephen Prince

If people generally do a poor job of recognizing liars, it is interesting that so many movies employ deceptive characters. Duplicity and prevarication are common plot devices whereby scheming characters maneuver to get their way. Such movies often rely on viewers’ abilities to recognize the deception at hand. Does this represent a disconnect between movies and life, with viewers tasked in one arena with a skill set that doesn’t seem to function well in the other?

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A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

and security to control their situation and the reality of their victimhood. Though blind and naive, the victims are alazons who do not inspire disgust or antipathy. Unlike those on the other side of the divide, their self-deception leads readers to

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Dissenting Voices?

Controlling Children’s Comics under Franco

Rhiannon McGlade

could save after more than twenty years of shopping at the advertised supermarket. As well as the violence, the strip contains deception of the authorities and references to No-Do, the regime’s cinematic propaganda arm. Reproduced with the kind

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Paisley Livingston

Adams , 144 – 153 . New York : Harcourt Brace Jovanovich . Elster , Jon . 1986 . “Deception and Self-Deception in Stendhal: Some Sartrian Themes.” In The Multiple Self , 93 – 114 . Cambridge : Cambridge University Press . Iseminger , Gary

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Editorial

Reinventing Anthropological Topics

Soheila Shahshahani

, perspective and power relations. The author, in the crucible of experience, asks seminal questions on an area that has suffered greatly, not only as human life is concerned, but also in regard to political deceptions and a lack of scientific attention paid to

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Malcolm Turvey

intention to perpetuate Wakanda's isolationism and deception. However, he is challenged by his cousin, a powerful and ruthless warrior named Killmonger (Michael B. Jordan), who believes vibranium should be sent all over the world to arm Black people to fight

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Jablonka’s History

Literature and the Search for Truth

Sarah Fishman

happily denies having said something that he was captured on video saying, then blames the so-called ‘fake’ news for pointing out his deception? Part of Trump’s strategy in office, whenever the media or prosecutors or the Special Counsel get too hot, is to

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Rainer Reisenzein

Clues to Deception .” Psychiatry 32 ( 1 ): 88 – 105 . 10.1080/00332747.1969.11023575 Ekman , Paul , Wallace V. Friesen , Maureen O’Sullivan , Anthony Chan , Irene Diacoyanni-Tarlatzis , Karl Heider , Rainer Kraus , et al. 1987

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Donner la mort au gibier sur le territoire sacré de la Mecque

Une vieille controverse (VIIe-VIIIe siècles)

Hocine Benkheira

sacralisation, est défendu. Muhammad (m. 632) Quand un homme offre un onagre ( ḥimâr wahsh ) qu’il vient de tuer au Prophète, celui-ci décline le cadeau. Constatant la déception sur le visage de l’homme, il lui dit: « Je n’ai rien contre toi, mais je suis en