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Jonathan Frome

appealing claim that the “vast majority” of narrative films present their stories by raising and then answering questions about their story world (2008a, 133). According to this theory, the opening scene of Citizen Kane (Orson Welles, 1941), for instance

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Héctor J. Pérez

My aim in this article is to contribute to the existing literature on the plot twist in screen fictions. The plot twist is a narrative device designed to turn the reception of a narration into an experience dominated by surprise, influencing how

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James E. Cutting, Catalina Iricinschi, and Kaitlin L. Brunick

This article presents a new method to create maps that chart changes across a cinematic narrative. These are unlike narrative spaces previously discussed in the literature—they are abstract, holistic, dynamic representations based on objective criteria. The analysis considers three films (All About Eve, Inception, and MASH) by counting the co-occurrences of main characters within scenes, and 12 Angry Men by counting their co-occurrences within shots. The technique used combines the statistical methods of correlation, multidimensional scaling, and Procrustes analysis. It then plots the trajectories of characters across these spaces in All About Eve and Inception, regions for characters in Inception and MASH, and compares the physical arrangement of jurors with their dramatic roles in 12 Angry Men. These maps depict the changing structures in the visual narrative. Finally, through consideration of statistical learning, the article explores the plausibility that these maps mimic relations in the minds of film viewers.

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Katalin Bálint and Ed S. Tan

Narrative absorption is a spontaneous temporary change in the state of consciousness due to an exceptionally intense awareness of a fictional narrative. This article investigates the experiential level of narrative absorption, namely what it is like to be absorbed in a cinematic or printed narrative. Following a cognitive linguistic approach the article assumes that in order to establish understanding of the experiential level of narrative absorption it is necessary to examine how people express their experience. The article proposes that the concept of image schema is a fruitful way to represent the content of viewers' and readers' consciousness so as to identify relevant mental schemata of absorbed narrative experiences. To generate rich descriptions of narrative absorption an interview study was conducted. The interviews qualitatively employing the image schemas as the system of the thematic analysis were examined for this research. The Centre-Periphery, Container, and the Source-Path-Goal schemas provide deeper insight into the nature and structure of recurring embodied patterns of absorption with fictional narratives.

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James J. Fiumara

Nitzan Ben Shaul, Cinema of Choice: Optional Thinking and Narrative Movies

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Jason Gendler

This article is an attempt to answer the question: Where does a classical narrative beginning end? It examines a series of epistemological concerns about the nature of beginnings before exploring two previous models that can be used to determine where a narrative beginning ends, one by Kristin Thompson that relies primarily on a narrative's formal properties, and one by James Phelan that relies primarily on cognitive processes. The article focuses primarily on the possibilities for a cognitive model for determining the end of a narrative beginning. However, ultimately, it argues that only by combining formal properties and cognitive processes can we arrive at a comprehensive and flexible model for how to determine where a classical narrative beginning ends.

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

the medium that narrativizes trans subjectivities. Since the advent of television in Latin America, telenovelas have become the staple of television programing. The success of serialized storytelling sustains Latin America's participation within a

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Monika Suckfüll

This article investigates the effects of films on an audience, using an interdisciplinary empirical approach connecting film analysis and psychophysiological measurement. It discusses the animated short film Father and Daughter (2000) directed by Michael Dudok de Wit. The features of the film that are relevant to the reception process, the so-called moments of narrative impact, are determined on the basis of Wuss's analytical film model. The model postulates that films can be described as a combination of different kinds of narrative structures that predetermine the reception, which is conceptualized as a process of problem solving. This article defines five moments of narrative impact. Three of these moments establish the main conflict and its possible solution while the other two combine reoccurring motives, the so-called topic lines. Heart rate and skin conductance reactions were examined for thirty participants. The results of heart rate measurements demonstrate a clear significance for a combination of topic lines. The establishment of the central conflict also evokes significant reactions.

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A Vision of the Viewer

Situating Narration in the Fiction Film in the Context of Theories of Narrative Comprehension

Joseph P. Magliano and James A. Clinton

Narrative comprehension results from building a durable mental representation of the narrative events (e.g., Kintsch 1988 ). The vast majority of narrative comprehension research has been within the text domain rather than visual narratives (e

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Francesco Sticchi

In this article, I analyze Park Chan-wook’s The Handmaiden (Ah-gassi, 2016) by addressing its puzzle narrative and complex interactive dynamics as embodied and affective categories. In particular, I employ Mikhail Bakhtin’s theory of the chronotope together with Giuliana Bruno’s work on media theory and Steffen Hven’s notion of the embodied fabula to show how the film, in all its aesthetic complexity, enacts a creative and transformative experience based on the continuous subversion of the power dynamics I describe. Furthermore, I demonstrate how this semantic and experiential reconstruction couples viewers’ alignment with the two main characters in their rebellion against patriarchal power and obsessive male fantasies. Ultimately, then, in this article I aim to connect the experiential and affective engagement of the film with a critical reading of power dynamics as ecologically situated structures to be challenged and revolutionized through a creative process of becoming.