Search Results

You are looking at 1 - 10 of 21 items for :

  • "participation" x
  • Film Criticism x
  • All content x
Clear All
Restricted access

Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

–mind system presenting a set of perceptual features choreographing the participation of viewers, whose bodies, therefore, are observed as producers of meaning operating through “as-if loop” mechanisms and mediated constructions of the self ( 2018, 263

Restricted access

“Is He Talking to Me?”

How Breaking the Fourth Wall Influences Enjoyment

Daniela M. Schlütz, Daniel Possler, and Lucas Golombek

addresses them (both bodily and verbally) to share thoughts, motives, and emotions and to invite viewers’ participation. Participation in filmed narratives—that is, viewers’ cognitive or even verbal engagement (as if they were side participants; cf. Gerrig

Restricted access

Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

instruments. Instead, it establishes a study of narrative structures based on experiential, operational, and dialogical factors, where this dialogue also involves the creative participation of the reader. It is possible to recognize a very similar ambition

Restricted access

Héctor J. Pérez

participation of characters in the evolution of the narration is important for our belief in their continuity. Our expectations about the continued presence of a character in a given plot is correlated with their degree of participation in the plot. The more

Restricted access

Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

increased to nearly 85 percent. Hence, our recommendation for similar future studies is to take into account the length of the sessions and plan an appropriate compensation strategy for participation. Third, although the online subjective response

Restricted access

Sam Roggen

of Production Darryl F. Zanuck (1993: 223) claimed that CinemaScope would have almost as much “audience participation value” as the three-film system Cinerama. John Belton (1988: 37 ) noticed how both widescreen systems “sought to satisfy the

Restricted access

Todd Berliner

movie, including, for instance, fantasy, sexual excitement, participation in a cultural event, boredom during a global pandemic, and a film's moral-ideological content. Some viewers may choose to see Selma in order to better understand the wisdom of Dr

Restricted access

The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

emotion, but the filmmakers use it as an aesthetic strategy to fashion a very different mode of viewing, based on active participation, engagement and contemplation. As such, boredom is not merely a negative emotion and may attain positive functions, such

Restricted access

What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

the series’ dissection of the ambiguities of the region’s “resurrection” 5 in the wake of total destruction inflicted by a nation—Germany—that a post-war geo-politics, including Norway’s participation in NATO, defined as friend, not foe. Jensen

Restricted access

Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

” sense of “participation in … Being without restriction” (Merleau-Ponty 2004, 304). The latter is visualized in the film as flows of data, networks of electricity, the blues and greens of a dog's vision, and the imagery of the sky or of water. Across the