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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

Mainstream films brim with villains—major antipathetic characters like Anton Chigurh from No Country for Old Men (Ethan and Joel Coen, 2007), Jafar from Aladdin (Ron Clements and John Musker, 1992), and Voldemort from Harry Potter (Chris

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Torben Grodal

PANIC because it exemplifies how some humans may be psychopaths, lacking the emotions of CARE and PANIC/GRIEF. The villains manifest a superior strategic capability combined with a lack of mammalian emotions except PLAYING. The prominent use of PLAYING

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Ted Nannicelli

psychology to develop an account of our engagement with antipathetic characters in narrative film – that is, with villains. Again, Smith's work is an especial influence here; Kjeldgaard-Christiansen takes Smith's well-known “structure of sympathy” as a

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Ethical Engagement with Movies

Response to Carl Plantinga's Screen Stories

Cynthia Freeland

its equally extreme presentation of the harm first done to the hero by the despicable villains. Plantinga treats the revenge narrative scenario as morally risky because so often, as in Django Unchained , the protagonist's desire is not just about

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Jason Dean and Geoffrey Raynor

eradicated by the evil empire. In stark contrast to the Jedi, Darth Vader is introduced as a merciless villain who shows no remorse for acts of murder, dressed entirely in black and wearing a frightening mask. At this stage, the films very clearly delineate

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Statutory Rape or Postfeminism in Pretty Little Liars?

Shara Crookston

Little Liars Finale: How a Mystery Hid its Villain. ” The New York Times , 27 June . (accessed 25 March 2019 ). Whitney , Sarah

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Stephanie Russo

. Further, even women such as Jane Boleyn and Jane Seymour, who are usually presented in historical fictions centred on Anne Boleyn as villains who worked actively to bring about her downfall, are recuperated in the novel. Cleves is prompted to reassess her

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Stacie Friend

scene of Alfred Hitchcock’s Saboteur (1942), in which the villain Fry (Norman Lloyd) dangles precariously from the top of the Statue of Liberty: “Hitchcock peppers the sequence with close-ups of the saboteur’s expressions of pain and terror—shots that

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Paul Taberham and Kaitlin Brunick

, resourcefulness and devotion to his daughter. We are also primed to experience ‘dubious titillation’ when Neeson dispatches each villain (and many of us do). But in a real life context, a small amount of impish glee experienced at another person’s death, even that

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

appraisal of a situation (we see the villain, we appraise them as bad, and we then feel the associated emotion). Zacks explains that this idea falls short and presents the James-Lange perspective ( James 1884 ; Lange [1885] 1912 ) as a more comprehensive