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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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Ambivalent Sexualities in a Transnational Context

Romanian and Bulgarian Migrant Male Sex Workers in Berlin

Victor Trofimov

Berlin, they realize that their professional skills and language knowledge are not sufficient for the regular labor market, where they may also face formal and informal discrimination (see below). Against the backdrop of limited employment opportunities

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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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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

inflected disagreements and tensions and how these manifest themselves in practices such as conference calls for papers, the scope and remit of journals, employment selection and the recruitment of candidates for university positions, legitimate scholarship

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“The Dragon Can't Roar”

Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many

Antony Mukasa Mate

—as Patricia the qualified candidate and as Patricia the woman. Unfortunately, the latter holds more weight in her employment in her patriarchal society. Her physical attributes are given more weight, and it is evident that they are really what impress her boss

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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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Introduction

Bodies, Sexualities, and Masculinities in the Time of Coronavirus

Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

employment matters. Employment is always already about—and impacts—our understandings, roles, and realities of gender and masculinities, as well as our relations within, between, and through these and sexual practices and relationships. We do not yet know

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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