challenge or invert conventional wisdom on central aspects of the Hollywood aesthetic: on the roles of style and ideology , respectively. Pull Up to the Bumper Berliner lays out five functions of style (“the distinctive and patterned use of the
films complicate formal patterning and thwart audience expectations. They do so by combining classical narrative, stylistic, ideological, and genre properties with some fairly bold (by Hollywood standards) deviations from normative practices
David Bordwell (2002) has described contemporary mainstream cinema as a cinema of intensified continuity. When we combine Bordwell's analysis with that of recent cognitive work on attention, especially with work on edit blindness, we discover some intriguing results. For example, the increased rate of cutting in contemporary cinema serves to keep our attention continually aroused, but, at the same time, that which arouses our attention—the increased number of cuts—becomes decreasingly visible. That is, the greater the number of cuts made in the services of continuity editing, the less we are able to spot them. If, while watching contemporary mainstream cinema, the attention of viewers is aroused but viewers are decreasingly capable of spotting the reasons why this is so (i.e., the cuts themselves), then does this also serve to make contemporary mainstream cinema “post-ideological,” because it concerns itself only with “intensified” experiences? Or, as this article argues, does the sheer speed of contemporary mainstream cinema renew the need for the ideological critique of films?
—are valuable cultural artifacts for extracting and deconstructing the dominant ideologies that characterize our society ( Hughey 2014: 15–16 ). As the history of Hollywood films, box office records, Academy Award nominations, and critics’ reviews imply, films
Emotion Ideologies in Contemporary German Education about the Holocaust
Lisa Jenny Krieg
Based on an ethnographic field study in Cologne, this article discusses the connection between memory practices and emotion ideologies in Holocaust education, using Sara Ahmed’s concept of affective economies. Moral goals, political demands, and educators’ care for their students lead to tensions in the education process. Two case studies illustrate how educators and learners express different, often contradictory concepts of emotion. In these studies, emotions are selectively opposed to rationality. In some contexts, emotions are considered inferior to facts and obstacles to the learning process; in others, they are superior to facts because they can communicate moral messages reliably.
page and the playfully impermanent (one might say impertinent) electronic text that is always (re)making itself anew” (166) is an instance of what he terms “medial ideology,” namely a reductive way of looking at electronic textuality. Among the
A Remark on the Invisibility of Ideology in Popular Education
School history atlases are used almost exclusively as required textbooks in Central and Eastern Europe, where the model of the ethnolinguistic nation-state rules supreme. My hypothesis is that these atlases are used in this region because a graphic presentation of the past makes it possible for students to grasp the idea of the presumably "natural" or "inescapable" overlapping of historical, linguistic, and demographic borders, the striving for which produced the present-day ethnolinguistic nation-states. Conversely, school history atlases provide a framework to indoctrinate the student with the beliefs that ethnolinguistic nationalism is the sole correct kind of nationalism, and that the neighboring polities have time and again unjustly denied the "true and natural" frontiers to the student's nation-state.
A Reply to Critics
to Part 3 on style and Part 4 on ideology in Hollywood cinema. I am going to ignore all of the lovely things he, and the other respondents, had to say about my book and focus on the more provocative negative criticisms. Smith correctly separates my
There is no question that violent entertainments shape popular attitudes toward violence. But do they really make the culture as a whole more violent? Can they work to make it less violent? This article considers shortcomings of conventional scholarly approaches to these questions. It outlines an alternative “ecological“ approach and tests it by examining two movies that treat violence in strikingly different fashions: The Dark Knight (2008) and Saving Private Ryan (1998). It tests empirically whether and how Saving Private Ryan actually changes college students' attitudes toward violence, and summarizes the best current psychological models of the causal connection between violent thoughts and violent behavior. The article concludes that while violent movies do indeed prompt violent ideas and impulses, these are not necessarily antisocial and can, in fact, be prosocial. The critical factor is not what they show or how they show it; it is how they are used.
following a narrative, style, ideology, or genre (Berliner's four main categories of aesthetic analysis)? 2. What needs to be considered when taking account of the expert historical spectator to which Berliner often refers? For instance, he discusses