This article reviews significant developments in affective neuroscience suggesting a refinement of the contemporary theoretical discourse on cinematic empathy. Accumulating evidence in the field points to a philogeneticontogenetic-neural boundary separating empathic processes driven by either cognitive or somato-visceral representations of others. Additional evidence suggests that these processes are linked with parasympathetically driven mitigation and proactive sympathetic arousal. It presents empirical findings from a functional magnetic resonance (fMRI) film viewing study, which are in line with this theoretical distinction. The findings are discussed in a proposed cinematographic framework of a general dichotomy between eso (inward-directed) and para (side by side with)—dramatic cinematic factors impinging on visceral representations of real-time occurrences or cognitive representations of another's mind, respectively. It demonstrates the significance of this dichotomy in elucidating the unsettling emotional experience elicited by Michael Haneke's Amour.
Gal Raz and Talma Hendler
This article seeks to prompt a reevaluation of the efficacy of mainstream fiction films to convey liberalism's political and ethical values. First, it challenges still-influential Marxist claims about counter-cinema and distanciation, then it deplores the influence of contemporary irony and postmodernism. The article proceeds to enumerate the characteristics of “a cinema of engagement”; for example, moving us to empathy—even empathetic anger—rather than distancing us or making us feel superiority; manifesting a level gaze; analyzing structures of power; basing scripts on real events; employing both the realist and melodramatic modes; and inspiring viewers to work against social injustice. It invokes the theories of liberal philosophers, literary scholars, cognitive scientists, and psychologists, and draws supporting evidence from a close reading of The Insider (1999).
Workers, Colonial Subjects, and the Affective Politics of French Romantic Socialism
Naomi J. Andrews
community. Socialists’ inconsistent empathy with various subjugated groups in the French body politic are acutely apparent when we examine their positions on key metropolitan and imperial issues during the July Monarchy, especially colonial slavery, wage
relation to social interactions (as, e.g., in the case of empathy). He, therefore, does not fully address in which ways they become re-appropriated in our interactions with cultural artifacts and factor in our appreciation of these artifacts. Following
Service-learning and studying the past
Many disciplines in the social sciences and humanities can offer profound insights into what it means to be human. History, however, encompasses the totality of human experience: economics, politics, philosophy, art, ethics, sociology, science - all of it becomes part of history eventually. Therefore, the opportunities for incorporating service-learning (carefully integrating community service with academic inquiry and reflecting on insights derived from such integration) into history courses abound. Many historians have taken advantage of this opportunity. Few historians have undertaken a scholarly investigation of the learning taking place in their service-learning courses, however. Indeed, despite the fact that the reflective process so central to service-learning lends itself remarkably well to the scholarship of teaching and learning (it generates very rich data on both the affective and content-based learning students are experiencing), there has been little published SoTL research from any discipline about service-learning. Drawing on qualitative evidence from an honours course comprised of 16 students at a private liberal arts college in the northeastern United States, I argue that not only does service-learning in history lead to more active citizenship, but that it also leads to deeper appreciation of an historical perspective as a key ingredient for being an engaged citizen.
Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg
Empathy-related processes such as feeling the emotions of others, seeing the world from their perspective, and reacting to this information are fundamental constituents of cinematic experiences ( Oatley 2012 ; Tan 2008 ). Filmmakers therefore
There is no question that violent entertainments shape popular attitudes toward violence. But do they really make the culture as a whole more violent? Can they work to make it less violent? This article considers shortcomings of conventional scholarly approaches to these questions. It outlines an alternative “ecological“ approach and tests it by examining two movies that treat violence in strikingly different fashions: The Dark Knight (2008) and Saving Private Ryan (1998). It tests empirically whether and how Saving Private Ryan actually changes college students' attitudes toward violence, and summarizes the best current psychological models of the causal connection between violent thoughts and violent behavior. The article concludes that while violent movies do indeed prompt violent ideas and impulses, these are not necessarily antisocial and can, in fact, be prosocial. The critical factor is not what they show or how they show it; it is how they are used.
The Affective Modalities of Media and Technology
Andrew J. Ball
through the strategic use of embodied affective experience. Three essays in the issue focus on new and emerging technology. In, “The iAnimal Film Series: Activating Empathy Through Virtual Reality,” Holly Cecil examines the potential power of virtual
is only extreme pessimists like McFee who share Fodor’s belief that the most we can get from neuroscience is an implementation model. Empathy: Its Value in Film Experience Empathy plays a central role in Smith’s account of the nature of film reception
Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film
the representation and expression of emotion in film. My particular interest is in the account Smith advances of the nature of emotion and its role in relation to empathy and imagination in the film experience. As Smith contends, quantitative empirical