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This article reflects on the place of emotionally arousing ex- periences within religious organisations. Using data obtained through participant observation and interviews, it outlines a research approach for investigations of the interrelationships between particular features of religious practices. Those features have been pointed out in many previous anthropo- logical and sociological works, but few works attempted to analyse connections and interdependencies between con- crete features of religious traditions. The present article takes inspiration from contemporary 'modes of religiosity' theory to explore further the relationships between highly emotion- ally arousing religious experiences and centralised religious authority. Going beyond Whitehouse's theory, it is argued that centralised religious organisations can influence the so- cial features of a religious movement through management of emotionality in ritual practice.

This article discusses filmic emotion by focusing on how the dominant color (blue in Gabbeh and Meenaxi; red in Mirch Masala) is used to elicit emotion. Through alienation effect, the viewer is distanced from the aims and goals of characters, and is less likely to experience the sorts of emotions that result from identification. The first two films use multiple frames of narration leading to character(s) in the outer frame becoming like spectators, invested in, for instance, fortune of others emotions that are central to the enjoyment of movies. In Mirch Masala, narration focuses on class struggle; there is minimal engagement with characters' individual aims, goals, and desires. While the red film foregrounds social anger, the blue films foreground consciousness. The three films together ask questions about what makes war and what makes peace, and how human action and human consciousness, represented through colors, figures in all this.

Taking Hum Aapke Hain Koun . . . ! as an example, this article asks whether models that were developed for the analysis of narrative forms and their intended emotional effects in Hollywood cinema can be regarded as universal, and to what extent they may be reasonably applied to commercial Hindi films. The often voiced reproach that Hindi cinema lacks realism, usually accompanied by a critique of the excessive use of emotional cues, arises in part from the fact that scholars tend to view the narrative forms of Western mainstream cinema as the norm from which Hindi cinema deviates. By contrast, this article argues that we need to search for a proper understanding of a cinema whose films follow different rules. In so doing, this article also contributes to the debate on how cognitive models of film reception may be expanded to include culturalist elements of explanation.

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.

This article reconsiders the connection between 'ritual' and 'emotion' from a pragmatic, relational perspective in which rituals are seen as dynamic interactive contexts and emotions as fairly short-lived emergent properties and integral components of these interactions. It emphasizes ritual's capacity to reallocate social positions by instantiating characteristic patterns of relationship, and the way particular emotions crystallize and express these patterns. In short, ritual emotions are treated as the sensate qualities of ritual relationships. From this standpoint, emotions feature in ceremonial settings not as striking experiences grafted onto practices and representations, but as constitutive aspects of ritual interactions themselves, whose properties of bodily salience and relational reflexivity both reflect and inflect the latter's course in a variety of sensory, expressive, moral, and strategic ways. Four issues relating to ritual and emotion are discussed within the framework of particular ceremonial practices that have been the object of much recent research: (1) the ritual expression of emotions in funerary laments, (2) the waning of cathartic models in the interpretation of rites of affliction, (3) the intense emotional arousal characteristic of initiatory ordeals, and (4) the self-constructive, affective dimensions of contemporary devotional practices.

Emotion is an extremely valuable, yet underdeveloped, topic of study particularly in the world of International Relations. This article seeks to rectify this discrepancy by reconceptualizing the issue of emotion in relation to the Israeli-Palestinian conflict. For the last century, Israelis and Palestinians have been waging war over the same territory in which religions, cultures, and values are constantly clashing. Passionate emotions are a cause, and also a consequence, of the constant physical and ideological battles faced by both sides. The question of how to reconcile differences between the two will not be easy to answer. Considering how peace can viably be implemented requires a deeper comprehension of what emotions entail as well as their role in prolonging conflict between Israelis and Palestinians.

The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems.

The International Siberian Studies Conference (Sibirskiie Chteniia) is organized by the Siberian Department of Museum of Anthropology and Ethnography, the renowned Kunstkamera, once every three years in Saint Petersburg. The conference this year, the tenth, was devoted to emotions, feelings and perception in the North and Siberia. This year, all sessions of the Conference took place in the main building of Russian Geographic Society (RGS), an institution with a long history of geographic and ethnographic research in Siberia, and the atmosphere created by the historical interior of RGS contributed greatly to the success of the event.

Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.