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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

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Minority Report

Perceptions and Realities of Black Men in Heterosexual Porn

Darryl L. Jones II


Black men are an integral part of the American pornographic industry, but their participation requires confronting and navigating a variety of simplified categorizations and assumptions that favor their sexuality over their humanity. Utilizing interviews with twelve prominent heterosexual black male figures (also known as “talent”) currently active in the industry, this article seeks to offer insight into the realities that the men face while participating in an industry viewed as taboo by mainstream society. Among the issues explored are their reasons for joining the industry, interracialism and racism, and moral and ethical dilemmas. Also employed are Lewis Gordon's concept of “epistemic closure,” or the cessation of inquiry, and Frantz Fanon's concept of the “phobogenic object,” or “stimulus to anxiety.”

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Julian Hanich

This article explores the question of what we are actually afraid of when we are scared at the movies. It is usually claimed that our fear derives from our engagement with characters and our participation through thought, simulation, or make-believe in fearful situations of the filmic world. These standard accounts provide part of the explanation why we are afraid—this article complements them by showing that we often literally fear for ourselves as well. Concentrating on an anticipatory subspecies of cinematic fear dubbed “dread,” the article argues that we often fear a negative affective outcome, namely our own fearful experience of shock and/or horror that usually ends scenes of dread. By looking at viewers' action tendencies and actions proper activated in dreadful moments, the article suggests that we appraise scenes of dread as potentially harmful to our current (and even future) psychological well-being. Dread thus turns out to be a specific kind of metaemotion.

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“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

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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

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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

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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

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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

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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

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Elizabeth J. McLean, Kazuki Yamada, and Cameron Giles

Chapters 8 and 9, Anesko examines Allerton's patronage of young gay artists and specifically James's nephew, Alexander Robertson James. Chapter 10 illustrates James's participation in relief efforts during World War I and his socializing with Borie during