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Torben Grodal

Abstract

The article analyzes how action films use different emotional sources of arousal to create narrative tension and suspense in the PECMA flow (i.e., the mental flow of perceptions that activate emotions, cognition, and action). It analyzes how different emotions link to each other or contrast each other in the narrative flow that one metaphorically might call an emotion symphony. The flow may create a time-out experience because of the way in which the action-oriented flow recruits consciousness in full, similar to the way in which music creates flow experiences, as discussed by cognitive music aestheticians. The article discusses how the flow supports character simulation and how it uses a small set of scenarios (HTTOFF scenarios) to drive the flow. To illustrate the symphonic flow, it makes a close reading of John McTiernan’s Die Hard (1988).

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Eva Lezzi

This article investigates the recurring patterns in narration and visual aesthetics with which the Shoah is commemorated in children's literature. On the one hand, the essay undertakes an intercultural comparison of the differing iconographic, narrative and commemorative structures found in the varying contexts of publication, i.e. in Germany, other European countries and the United States. On the other hand, the author analyses the heterogeneous figurations and experiences of childhood on three levels of textuality: the representation of children living in the Third Reich, the intergenerational communication taking place between the narrator - often of the grandparents' generation - and the reader, and the construction of implied child readers of the picture books today.

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Mirko M. Hall

suggestive musical and visual aesthetics of Death in June continue to exert—in the popular imaginary of fans and critics alike—an overarching presence on the German-speaking scene. Pearce’s use of politically charged (proto) fascist aesthetics and themes has

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Naomi Caffee, Paul Dukes, and Aimar Ventsel

visual aesthetics also has its roots in the Soviet period.’” (275). She shows how the dichotomy of the Soviet concept of kul'tura— which can imply assimilation in order to become part of a Soviet people as well as the preservation of the ethnic

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Peter Oakley

different register and were treated as distinct from the collection, although they usually aligned with it to some degree in terms of visual aesthetics and material composition. A jewelry collection as a whole reflects the changing financial status and

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In/visible—In/secure

Optics of regulation and control

Ieva Jusionyte and Daniel M. Goldstein

ethnographically tracing the dialectic between exposure and disguise, revelation and concealment, to the murky zones of political and ethnographic il/legibility, this theme section invites readers to reconsider the visual aesthetics, the discursive fields, and the

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Daring spaces

Creating multi-sensory learning environments

Sabine Krajewski and Matthew Khoury

without hard furniture, a physical space that can easily be transformed because there are no unwieldy tables and chairs but only soft furniture that can easily be re-arranged or removed. Visual aesthetics, sound and smell can be obstacles to successful

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Black October

Comics, Memory, and Cultural Representations of 17 October 1961

Claire Gorrara

, contesting negative stereotyping of Algerians living in France. 51 Jan Baetens, “History against the Grain: On the Relationship between Visual Aesthetics and Historical Interpretation in the Contemporary Spanish Graphic Novel,” Rethinking History: The

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

.001.0001 Wees , William . 1992 . Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film . Berkeley : University of California Press . Catalin Brylla and Mette Kramer, eds., Cognitive Theory and Documentary Film (London

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Pascal Wallisch and Jake Alden Whritner

.psych.58.110405.085632 . 10.1146/annurev.psych.58.110405.085632 Grodal , Torben . 2006 . “ The PECMA Flow: A General Model of Visual Aesthetics .” Film Studies 8 ( 1 ): 1 – 11 . doi:10.7227/FS.8.3 . 10.7227/FS.8.3 Grubb , Michael , David J