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.
J. Brandon Colvin
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?
Horst Rosenthal's Mickey au camp de Gurs (1942)
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
Controlling Children’s Comics under Franco
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
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
Reinventing Anthropological Topics
, 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
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
Literature and the Search for Truth
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
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
Une vieille controverse (VIIe-VIIIe siècles)
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