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Carl Plantinga

Film scholars, critics, filmmakers, and audiences all routinely employ intuitive, untutored "folk psychology" in viewing, interpreting, critiquing, and making films. Yet this folk psychology receives little attention in film scholarship. This article argues that film scholars ought to pay far more attention to the nature and uses of folk psychology. Turning to critical work on Alfred Hitchcock's Psycho, the article demonstrates the diverse and sometimes surprising ways that folk psychology is used in criticism. From an evolutionary perspective, the article defends the critic's and audience's interests in characters as persons. It also defends folk psychology against some of its most vocal detractors, and provides some guidance into how cognitive film theorists might employ folk psychology, arguing that such employment must supplement and correct folk psychology with scientific psychology and philosophical analysis. Finally, the article argues that the application of folk psychology to films is a talent, a skill, and a sensitivity rather than a science.

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David Davies

of dance depend only upon the manifest “personal level” capacities themselves and their employment in dance performance and appreciation, not upon their “subpersonal” implementation ( McFee 2011: 185–206 ). The moderate pessimist, however, rejects

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Wyatt Moss-Wellington

, filming a mere episode of consensual sadomasochism, but the sustained abuse of a dependent woman without the options for safe escape, employment, or agency and whose son is held captive by Frank throughout the film’s duration. Finally, Lynch has justified

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Dan Flory

’s complicated evolutionary history means that its employment in enforcing social and moral boundaries is far from perfect and tends to exaggerate the potential dangers detected, so unlike thinkers such as philosopher Jesse Prinz (2007) and legal theorist

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

approaches to film ethics. More importantly, he offers a clear way to think about ethics in screen storytelling, namely, as the employment of cognitive theory and hermeneutic interpretation to demonstrate narrative film’s capacity to provide ethically

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

formal employment. Most travesties in the region resort to sex work as one of the few viable sources for subsistence. They also face higher levels of state and civil violence in comparison to other LGBTQI identities ( Berkins and Fernández 2005 ). 3

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

genre and other conventions. In addition, my close reading attends to the ideas conveyed through such general aspects of web-based texts as titles, hashtags, multimedia materials, and comments. This employment of textual analysis to research and

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

in prior productions such as Showtime’s Weeds (2005), is known for her long character arcs, surprising plot twists, and bold employment of commonplace stereotypes to directly challenge rather than conform to mainstream systems of representations. It

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

's masterpiece manipulates the viewer by continuously negating and modifying her or his expectations through the employment of false flashbacks and memories. These tactics generate a strong sense of defamiliarization, which involves both the reconstruction and

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

message is actionable mirrors the precarity of employment itself. The increase of such technological busy-work, and the associated rise of solutions to manage them, has been of intense interest to information and media scholars in recent years. However