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Pascal Wallisch and Jake Alden Whritner

viewers and expert critics, as well as within noncritic viewers—we employ the following procedure. Stimulus Materials As stimuli, we used a list of 209 major motion pictures released between 1985 and 2004. Given the nature of our study, it was critical to

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Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács

future empirical study of apparent distance in motion pictures. By employing the Ponzo illusion to generate alternative versions of specific shots, it is possible to induce varying degrees of perceived distance while keeping intervening variables (e

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Gal Raz and Talma Hendler

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.

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

-ray images, kinetoscope images, and projected motion pictures during the first decades of cinema's existence. While some of these descriptions are used to highlight shadows as a diminished version of the real, as Maxim Gorky does, they all highlight a latent

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When Jackie Coogan Had His Hair Cut

Masculinity, Maturity, and the Movies in the 1920s

Peter W. Lee

ABSTRACT

This article uses details of the personal and professional life of American screen actor Jackie Coogan to examine the social transition from boyhood into manhood during the 1920s. As Hollywood’s first child superstar, Coogan was given a haircut to make visual his maturation from his famed persona as an orphaned waif into a leading man. The haircut was also linked to larger concerns about the so-called flaming youth of the Lost Generation; what was known as Americanism; and identity construction for both child and parental roles. Unfortunately for Coogan, fans refused to accept his makeover; his screen persona in public memory contributed to the decline of his career while concurrently protecting the Kid from a vilified mother.

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Stephen Prince

As the subtitle of the journal indicates, the intersection of movies and mind is a key theme of our coverage. First up in this issue is Jeffrey Zacks’s wide-ranging discussion of how our brains process the sights and sounds of motion pictures. He gives us a précis of his new book, Flicker: Your Brain on Movies, which aims to introduce a wide audience to the psychology and neuroscience that underlie our experience of motion pictures. He discusses the ways viewers parse narratives and build models of story events, perceive shot changes,

respond emotionally to fictional situations, and recall filmic information, and he ends by speculating about the future of virtual entertainment. In some not-too-distant future, will movies jack directly into our central nervous system? The readership of Projections is a key constituency of the research that guides Zacks’s discussion. His contribution differs a little from our usual style. Because it derives from a book that he has aimed at a broad audience, the tone of the writing is a bit more informal than is the norm in scholarly venues. Our readers should find the discussion both lively and fascinating. I am grateful to Jeff for providing us with this overview of his work.

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Asif A. Ghazanfar and Stephen V. Shepherd

Because the visual neuroanatomy and neurophysiology of monkeys are largely similar to ours, we explore the hypothesis that the same cinematographic techniques that create a visual scene for us likely create one for these close kin. Understanding how monkeys watch movies can illuminate how film exploits the capacities we share with our simian relatives, what capacities are specific to humans, and to what extent human culture exerts an influence on our filmic experience. The article finds that humans and monkeys share a basic capacity to process sensory events on the screen. Both can recognize moving objects and acting individuals, and both prefer looking at motion pictures of social behaviors over static images. It seems clear that some of the same things that make movies “work“ for human brains also work for the brains of our nonhuman relatives—excepting two critical features. First, humans appear to integrate sequential events over a much larger time frame than monkeys, giving us a greater attunement to the unfolding narrative. Moreover, humans appear to have special interest in the attention and intentional states of others seen on the screen. These states are shared through deictic cues such as observed gazing, reaching, and pointing. The article concludes that a major difference in how humans and monkeys see movies may be declarative in nature; it recognizes the possibility that movies exist as a means of sharing experience, a skill-set in which the human species has specialized and through which humans have reaped unprecedented rewards, including the art of film.

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Ted Nannicelli

enjoyment of motion pictures. “Breaking the fourth wall,” which involves characters seemingly addressing the audience directly and thus “breaking” the imaginary wall the separates the world of the fiction and the world of reality, is hypothesized to abet

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Ted Nannicelli

answers. Frome's project here is critical, yet it is important to see that its aim is to initiate the sort of dialectical argumentation that Carroll himself has persuasively argued is crucial for progress in the study of motion pictures and other arts

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Laura T. Di Summa

recent work in the philosophy of criticism and adopts that literature to further clarify how work in the philosophy of criticism squares with analytic practices in the philosophy of motion pictures. Additionally, attention will be given to critical