emotions theory that has found many adherents in emotion psychology and beyond. Smith can therefore claim, with full right, that he is applying to film studies an emotion theory that has become, during the past 30 years or so, a (or perhaps even the
film, Reisenzein notes my reliance on an “extended version” of the basic emotions theory (BET) associated with psychologists such as Paul Ekman, Phoebe Ellsworth, Nico Frijda, Joseph LeDoux, and Klaus Scherer. Noting that the main constituents of this
This article outlines a conceptual framework for analyzing meta-emotions in audiovisual media. Meta-emotions are evaluative thoughts and feelings about emotions that are represented and/or elicited in the viewer. Based on a conceptual analysis of meta-emotion in terms of current emotion theory the essay concludes that meta-emotions are communicated on different levels of cognitive complexity. Cues to meta-emotion can be present in (1) the aesthetic representation of emotions; (2) the narrative context of emotions; and (3) symbolic elements that refer to cultural norms and values concerning emotions. The essay exemplifies this three-level framework using a film scene and a music video. Specifically, the essay analyzes the communication of meta-emotions about anger in Fight Club, and meta-emotions about sadness in Frozen.
Fiction Elicit Emotions? ” In The Routledge Handbook of Emotion Theory , ed. Andrea Scarantino . New York : Routledge . Cova , Florian , Amanda García , and Vanessa Sennwald . n.d. “ Is What I’m Feeling Really Genuine? Fiction vs. Reality
Discursive Assertions of Mobility Futures
, “Automotive Emotions,” Theory, Culture and Society 21, nos. 4–5 (2004): 221–242; John Urry, “The ‘System’ of Automobility,” Theory, Culture and Society 21, nos. 4–5 (2004): 25–39. 2 Eva Fraedrich, Sven Beiker, and Barbara Lenz, “Transition Pathways to
A Degendered or Resegregated Future System of Automobility?
Dag Balkmar and Ulf Mellström
Economy of Pleasure: Representations of Cars and Humans in Motoring Magazines,” Science Studies 19, no. 2 (2006): 31–53, esp. 40; Mimi Sheller, “Automotive Emotions,” Theory, Culture and Society 21, nos. 4–5, (2004): 221–242, esp. 225; Olle Hagman
How Breaking the Fourth Wall Influences Enjoyment
Daniela M. Schlütz, Daniel Possler, and Lucas Golombek
representation for reality and/or generally obfuscating a critical response. (Aesthetic) illusion is not to be understood as “literal deceit” ( Smith 1996, 140 ). Cognitive emotion theory teaches us that emotion and reason are not antinomous but work in unison to