This article examines how three classic Hindi films—Pyasaa, The Guide, and Jagate Raho—draw on Indic paradigms of devotional love and śānta rasa and how they use “wonder” as a resolution to distressing emotions experienced by the characters and elicited in the viewer. To this effect, the article emphasizes how socio-cultural models of appraisal elicit various kinds of emotion, and, from this culturally situated but broadly universalist perspective, it traces the journey of the protagonists from fear, dejection, and despair toward amazement and peace. Among contemporary cognitive theories of emotion, the article uses perspectives drawn from the appraisal theory.
fear and disgust. In his chapter on “Horror” in the Routledge Companion to Philosophy and Film , for instance, Aaron Smuts (2009, 505 ) presupposes, without ever questioning it, the view that horror fictions warrant fear and disgust. Or, to mention
A Phenomenological Proposal
A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
letters). Four of these have their roots back in our reptilian ancestors: ANGER (aggression), FEAR (sexual), LUST, and SEEKING. SEEKING is a dopamine-supported emotional system that backs up the seeking for future gratifications such as food and sex, but
typically fictional, the events depicted in films often elicit emotional reactions in their viewers; indeed many film scenes are created with the explicit purpose of inducing particular emotions, such as fear or surprise. Explaining how viewers react to
's mind is Macbeth's line in Act 2 Scene 2 where he refers to sleep as “the death of each day's life.” While the specific memory is of an actor and a performance he enjoyed, the focus on this line brings out an underlying fear that, as sure as day leads to
Beyond the Kuleshov Effect
movement of his shoulders, as though he is breathing quickly and preparing bodily for flight, becomes suggestive, in this particular context, of fear at the prospect of his empowered mother-in-law. The kitchen scene, just before Mathias’s response, can feel
dimensions of expressiveness, such as speeding up delivery and quickening gestures in order to suggest increased alertness even though a categorical response such as fear fails to evolve in fullness. In my analysis, I will look for the extent to which
, as she deals with her fear and the loss of her mobility, dramatically enhanced limbs become a metaphorical substitute for human connection. Yet, in the geometric organization of these sculptures, the horizontal expansiveness is also countered by the
Elizabeth J. McLean, Kazuki Yamada, and Cameron Giles
analytic chapters, and a conclusion. The book is therefore concise yet intellectually uncompromising in advancing two central arguments within its condensed space. First, Gallop contends that fears around aging and late-onset disability as sexual and