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Johannes Riis

previous scenes or shared norms. Whether the actor employs distinct or indistinct expressiveness with regard to particular emotions may tell us more about how the kind of patterns and configurations at work in the communication of character emotions than a

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David Bordwell

shortcomings I encountered in writing other books. My previous project, a book undertaken with Kristin Thompson and Janet Staiger, sought to explain the emergence and maintenance of the most powerful artistic norm in film history, that of Hollywood “classical

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Dan Flory

roots in physically recoiling from potential bodily threats like poisons or parasites—for the purposes of enforcing sociomoral norms and values (2009: 207). Under such a theoretical formulation, some versions of sociomoral disgust could cause individuals

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Murray Smith

mirror neurons is much more controversial than I allow, and that my appeal to it violates an epistemic norm of naturalism—that we should draw on the best available knowledge in a given domain. (More on this objection below.) Friend (45) and Levinson (64

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

as disruptive, is now considered conventional. Bordwell (1985: 153) discusses the interaction of narrative conventions with a film’s internal narrative system in more detail. He posits that a film can establish its own intrinsic norms that may or

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

terms of problems and solutions and in terms of norms, tasks, and constraints faced by the agent of an artistic choice ( Bordwell 1997: 149–157 ; Carroll 1993 ). Kuleshov’s experiment with Mozzhukhin may at times have served as “an ink-blot test out of

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The Rich Inferential World of Mad Men

Serialized Television and Character Interiority

Jason Gendler

season progresses. 16 Even more intriguing would be to examine how different television series compare to one another along these lines. A likely hypothesis is that different series develop their own intrinsic norms for their balance between episodic

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Ted Nannicelli

’s conception of multiple instance artworks as “norm-kinds” is correct (1980: 58). In saying this, I don’t mean to make any particularly contentious ontological commitments. Rather, I simply want to take, as given, the intuitive idea that whatever multiple

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

need to be situated in relation to some clearly articulated norms. Helpful in this regard is a definition of pro-environmental filmmaking that clarifies the nature of the effective intentions that filmmakers must have if their claims to be engaged in

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Katherine Thomson-Jones

of Jenefer Robinson. Shot composition and editing, as well as scene blocking, are discussed as they affect the way viewers interpret characters’ emotions. And references to film style and cultural norms are used to explain the film’s distinctive