Our emotional responses are determined not only by actual experience, but also by anticipation. Indeed, we respond not only to anticipations per se, but to the relation between anticipations and experiences. Such anticipations operate on different time scales, linked with distinct neurological substrates. Some—such as those involving expectations about the immediate trajectory of objects—are very brief. The relations between experience and very short-term expectations can have significant emotional consequences. One purpose of the standard continuity editing system is to avoid disruptions in our short-term projections. However, the manipulation of discontinuities, thus the controlled disruption of short-term anticipations, can significantly contribute to the emotional impact of film. It is possible to isolate distinct varieties of anticipation and disruption, examining their emotional consequences in different cases. Muzaffar Ali's Umrao Jaan provides a virtual catalogue of such disruptions and their emotional effects.
Andreas Baranowski and Heiko Hecht
One hundred years ago, in 1916, Hugo Münsterberg was the first psychologist to publish a book on movie psychology, entitled The Photoplay: A Psychological Study. We revisit this visionary text, which was an anticipation of the field of cognitive movie psychology. We use the structure of his book to look into advances that have been made within the field and evaluate whether Münsterberg’s initial claims and predictions have borne out. We comment on the empirical development of film studies regarding perceived depth and movement, attention, memory, emotion, and esthetics of the photoplay. We conclude that the most of Münsterberg’s positions remain surprisingly topical one hundred years later.
Anticipation and Imaginings of Mexican Immigrant Adolescent Girls
This article explores the immigrant journeys of Mexican immigrant adolescent girls raised in transnational families. Based on interviews conducted with this young cohort I examine how they experienced migration long before they neared the United States-Mexico border. Using a transnational approach to migration and the intersections of gender and age as analytical categories, I highlight how Mexican immigrant adolescent girls are uniquely situated within their families so as to have a different set of experiences from men, women, and adolescent boys. Their stories reveal that before migration their lives were saturated, because of their parents' departures and visits, with anticipation and imaginings about Napa Valley, California, and with interruptions of migration. Their lives always seemed to be on the brink of migration. This also means that the very reason for their parents' migration—to better provide for their children—placed the children en route, as it were, to the United States.
agency, Gazelle’s sexuality incites an antagonistic reaction from the watching men: Gazelle’s body is depicted as so appetizing that the men rip their clothes off in anticipation of ravishing her. In contrast, the men’s aversion to Black Lady Halked
Sexual Subject? Desired Object?
Mary Ann Harlan
Sales’s texts demonstrate that Harris’s anticipation and this struggle still exist, not only for them as authors but also for the girls themselves. While Orenstein and Sales (in particular) frame girls as being at risk in their objectification of self
The Girl in the Text in Olemaun’s Residential School Narratives
father has been recognized for his skills and offered steady government employment. Because of a short summer, Olemaun has not seen her family for two years, and her anticipation almost overwhelms her. Agnes, however, remembers how difficult the
Methodologies and Practicalities
nature and political potential of popular culture. It is an extremely appropriate term to describe Femorabilia and its anticipation of future research. The significance of Femorabilia is manifold, but one major contribution it may make is to facilitate
Demythologizing Girlhood in Kate Bernheimer’s Trilogy
times at least, it has been customary in many Western countries for a woman to gather her trousseau—clothing, linens, plates, and other household goods—in anticipation of marriage” (2001: 43), and explains that the chest was often wood-worked and
reconnection to Indigenous cultural identity, youth attending these programs were latching onto gang-related identities. Each photographer claimed that an initial response to programming targeted at Indigenous youth was met with anticipation of a central
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
, fidgeting continuously between moments of sheer restlessness, boredom, and pronounced anticipation” ( 2004: 284–287 ). Similarly, Patrice Petro finds Warhol’s and Akerman’s films marked by an “an aesthetics of boredom [that] retains the modernist impulse of