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Torben Grodal

Based on film examples and evolutionary psychology, this article discusses why viewers are fascinated not only with funny and pleasure-evoking films, but also with sad and disgust-evoking ones. This article argues that although the basic emotional mechanisms are made to avoid negative experiences and approach pleasant ones, a series of adaptations modify such mechanisms. Goal-setting in narratives implies that a certain amount of negative experiences are gratifying challenges, and comic mechanisms make it possible to deal with negative social emotions such as shame. Innate adaptations make negative events fascinating because of the clear survival value, as when children are fascinated by stories about loss of parental attachment. Furthermore, it seems that the interest in tragic stories ending in death is an innate adaptation to reaffirm social attachment by the shared ritual of sadness, often linked to acceptance of group living and a tribal identity.

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Torben Grodal

symphony plays again, and the villains get an upbeat Christmas mood at the sight of all the riches in the vault. (The Christmas setting is, by the way, an element of the interplay of CARE and bonding as expressed in the holiday rituals and the FEAR

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

also a ritual and a form of communication. The model of understanding cinema presented in Method and developed in Eisenstein's dialogue with Vygotsky and Luria is thus not only anchored in evolutionary logic, but it also directly anticipates the

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“Is He Talking to Me?”

How Breaking the Fourth Wall Influences Enjoyment

Daniela M. Schlütz, Daniel Possler, and Lucas Golombek

MitM (S07E01), where Malcolm participates in a rebirth ritual in order to win the heart of a girl ( see appendix for full description ). During the scene, Malcolm breaks the fourth wall three times. Participants either watched the original scene (1

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Carl Plantinga

glory!” and “A new age has begun.” After the climactic battle had ended, all of the Spartan 300 are dead, Leonidas's body splayed with arms to his sides and his body pierced, an obvious Christ reference. The ritual celebration of these sacrificial deaths

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Wyatt Moss-Wellington

intensified, as with hazing rituals: Aronson and Mills (1956) found that in order to resolve cognitive dissonance between the severity of initiation practices and group attachment, subjects were likely to retrospectively explain their participation by

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Philip J. Hohle

Michigan Research Press . Lyden , John C. 2003 . Film as Religion: Myths, Morals and Rituals . New York : New York University Press . Oliver , Mary Beth , and Anne Bartsch . 2010 . “ Appreciation as Audience Response: Exploring Entertainment

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Steven Eastwood

orientation, the camera taking an interest in architectural space and non-human phenomena, often neglecting, losing, or panning past the human subjects. Chantal Akerman’s Je Tu Il Elle (1975) uses vacant space, repetition and inexplicable ritual to convey

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

. Although Dancing Baby is supposed to be doing the Cha-Cha, his or her wobbly upper body is more suggestive of Western fantasies of tribal rituals. This association is underscored by the most common soundtrack to the video, Blue Swede’s 1974 cover of the

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

and beautification rituals, and maintaining a slender and toned physique. Bartky (1988) argues that these procedures have delimited women’s identities and opportunities for self-expression. Applying cosmetics “gives little rein to self