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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

Abstract

Many narrative films feature villains, major characters that audiences are meant to condemn. This article investigates the cognitive-affective underpinnings of audience antipathy in order to shed light on how filmic villainy is constructed. To that end, the article introduces an analytical framework at the intersection of cognitive film theory and moral psychology. The framework analyzes villainy into three categories: guilty intentionality, consequential action, and causal responsibility.

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

the emotions of film characters with our mirror neurons but also the anthropomorphic movements of the camera recording them. We maintain that the functional mechanism of embodied simulation expressed by the activation of the diverse forms of

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

constitutes our primary alignment with film characters, viewers start simulating their bodily states and actions, and associate meaning, moral values, and conceptual reality to these operations and sensorimotor conditions. Thus, viewers generate semantic

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Consuming Katniss

Spectacle and Spectatorship in The Hunger Games

Samantha Poulos

readers Katniss is, at least in part, an assemblage of fantasies about girlhood … . The Hunger Games , like speculation in general is not instructive but aspirational” (98). Katniss, they suggest, should not be understood merely as a novel or film

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Katherine Thomson-Jones

-theoretical debate on our engagement with film characters. This is particularly clear in Chapter 7 as new ideas emerge. Given that this is primarily a book about methodology, the development of new ideas in aesthetics is not its focus. In the service of recommending

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

“direct, experiential form of understanding” of other people’s (or film characters’) actions and emotions (100). In terms of the aforementioned triangulation of perspectives, the mirror neuron system “is the neural substrate that ‘implements’ our

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Philip J. Hohle

ahead ( Dervin 2003a , 2003b). This perspective acknowledges the considerable authority of the viewer to judge film characters and interpret events as needed to get past it, to move on, and perhaps even resume the enjoyment of a film. The methodology

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Robert Sinnerbrink and Matthew Cipa

sound denotes the “importance is size/volume” conceptual metaphor (215–217). While previous chapters, and a wealth of film scholarship, are devoted to the emotional connection between spectators and films and film characters, this discussion adapts the

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Marie Puysségur

-ended, thus extending the fluidity of the filmscharacters to their own narrative and aesthetic form. Both films avoid a fixity of meaning: Mia and Marieme leave the estate behind, but their destination is uncertain. Sciamma, writes Emma Wilson, leaves

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

are also pervasive in those filmic expressions that convey information about the perceptual states of film characters ( Coëgnarts and Kravanja 2014 , 2015a , 2015b ). Exposing the relationship between the situational dimensions of character