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Wyatt Moss-Wellington

Abstract

Cognitive dissonance provides a model for understanding how we experience film texts as profound. This article looks at the ways in which filmmakers might motivate or exploit the pleasure of resolving familiar narrative dissonance to inspire emotions associated with profundity, sublimity, or transcendence. David Lynch scholarship provides a primary case study in the conflation of cognitive dissonance and transcendence, however it is contended that moral obligations to rape and trauma victims are sublimated in the process. Alternative moral dissonances across a range of different cinematic modes are subsequently addressed. Comparative analysis of vigilantism in American revenge and “social cleansing” films, Ken Loach’s social realism, Richard Linklater’s Bernie (2011), and John Sayles’s Lone Star (1996) permits an exploration of variability in filmic dissonance and narrative comprehension, as well as alternative approaches to filmmaking ethics and responsibility. The article concludes with suggestions for an applied ethics extended from cognitive film theory

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Indoktrination oder Innovation?

Der Unterrichtsfilm als neues Lehrmedium im Nationalsozialismus

Verena Niethammer

Ulf Schmidt, Medical Films, Ethics and Euthanasia in Nazi Germany. The History of Medical Research and Teaching Films of the Third Reich Office of Educational Films / Reich Institute for Films in Sciene and Education, 1933 – 1945 (Husum: Matthiesen

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Educational Film Studies

A Burgeoning Field of Research

Anne Bruch

75, no. 1 (2015): 88–106. 19 Ulf Schmidt, Medical Films, Ethics and Euthanasia in Nazi Germany: The History of Medical Research and Teaching Films of the Reich Office for Educational Films / Reich Institute for Films in Science and Education, 1933

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Introduction

Educational Films: A Historical Review of Media Innovation in Schools

Eckhardt Fuchs, Anne Bruch, and Michael Annegarn-Gläß

Translator : Nicola Watson

publish Italian textbooks. Cf. Paul Ginsborg, Silvio Berlusconi: Television, Power and Patrimony (London: Verso 2005). 30 Ulf Schmidt, Medical Films, Ethics and Euthanasia in Nazi Germany: The History of Medical Research and Teaching Films of the Third

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

approaches to film ethics. More importantly, he offers a clear way to think about ethics in screen storytelling, namely, as the employment of cognitive theory and hermeneutic interpretation to demonstrate narrative film’s capacity to provide ethically