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Ethical Engagement with Movies

Response to Carl Plantinga's Screen Stories

Cynthia Freeland

.” Therein, he addresses the “formal parameters of screen storytelling” (251): in succession, character engagement (Chapter 10), endings (Chapter 11), and what he calls “narrative paradigm scenarios” (Chapter 12). I find some tension in this final section

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Carl Plantinga

and Amazon Prime. And surely she is correct that long-form television and streaming dramas are one of the most remarkable developments in screen storytelling of the past ten years, and that they encourage a different kind of character engagement than

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Catalin Brylla and Mette Kramer

consisting of four areas of interest: the mediation of realities; character engagement; emotion and embodied experience; and documentary practice. The framework takes into account the intratextual and extratextual context of documentary production and

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Carl Plantinga

estrangement. The third part demonstrates some of the contours of an ethics of engagement, showing how it might operate in relation to character engagement, narrative closure, and paradigm scenarios such as the revenge scenario. Ethics would be far less

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Robert Blanchet and Margrethe Bruun Vaage

As the frequent use of metaphors like friendship or relationship in academic and colloquial discourse on serial television suggests, long-term narratives seem to add something to the spectator's engagement with fictional characters that is not fully captured by terms such as empathy and sympathy. Drawing on philosophical accounts of friendship and psychological theories on the formation of close relationships, this article clarifies in what respect the friendship metaphor is warranted. The article proposes several hypotheses that will enhance cognitive theories of character engagement. Spectators tend to like what they have been exposed to more, and the feeling of familiarity is pleasurable. Familiar characters are powerful tools to get the spectator hooked. Furthermore, by generating an impression of a shared history, television series activate mental mechanisms similar to those activated by friendship in real life. These factors, and several others, create a bond with characters in television series that tends to be described in everyday language as a sort of friendship.

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Ted Nannicelli

research, building a framework that permits a number of different research foci (e.g., the mediation of reality, character engagement, viewer emotions and embodied experience, and documentary practice) to be studied via a pluralistic, multimethod approach

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“Is He Talking to Me?”

How Breaking the Fourth Wall Influences Enjoyment

Daniela M. Schlütz, Daniel Possler, and Lucas Golombek

involvement with the character addressing the audience ( Auter 1992 ). More recently, Tilo Hartmann and Charlotte Goldhoorn (2011) showed that the direct address of a TV performer (in a nonnarrative format) intensified character engagement. Jonathan Cohen

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Jane Stadler

and evolving narrative understanding. In doing so, they “make a case” for particular ethical actions, values, and judgments, as Plantinga points out (40). This suggests serial television with extended character engagement may have a special place in

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Margrethe Bruun Vaage and Gabriella Blasi

specific facets of storytelling that seem uniquely suited to the television series structure” (18). He maps an impressive array of television storytelling, covering television series’ beginnings and endings, the role played by character engagement and

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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

divided into four main sections: “The Mediation of Reality,” “Character Engagement,” “Emotions and Embodied Experience,” and “Documentary Practice” for a total of seventeen chapters. I will consider them in order while focusing on a selection of