Passionate Views
Film, Cognition, and Emotion
Gebonden Engels 1999 9780801860102Samenvatting
In this study, editors Carl Plantinga and Greg M. Smith bring together 13 scholars from the disciplines of film studies, philosophy and psychology to explore the emotional appeal of the cinema. Employing a cognitive perspective, it is divided into three sections: first, investigating the relationship between genre and emotion; second, studying how film narrative, music and cinematic techniques such as close-up are used to elicit emotion; and third, examining the spectator's identification with and response to film characters. The range of films and topics discussed include: the success of "Stella Dallas" and "An Affair to Remember" as tearjerkers; the power of "Night of the Living Dead" to inspire fear and disgust; evoking the sublime in "The Passion of Joan of Arc", "Aguirre, the Wrath of God" and "The Children of Paradise"; the emotional basis of film comedy as seen in "When Harry Met Sally"; the use of cinematic cues in "Raiders of the Lost Ark" and "Local Hero" to arouse emotions; the relationship between narrative flow and emotion in "Once Upon a Time in the West" and "E.T."
; the emotive use of music in "The Elephant Man" and "A Clockwork Orange"; and eliciting empathy through close-ups of actors' faces in "Yankee Doodle Dandy" and "Blade Runner".
Specificaties
Lezersrecensies
Inhoudsopgave
Part I: Kinds of Films, Kinds of Emotions
Chapter 1. Film, Emotion, and Genre
Chapter 2. Sentiment in Film Viewing
Chapter 3. The Sublime in Cinema
Chapter 4. The Emotional Basis of Film Comedy
Part II: Film Technique, Film Narrative, And Emotion
Chapter 5. Local Emotions, Global Moods, and Film Structure
Chapter 6. Emotions, Cognitions, and Narrative Patterns in Film
Chapter 7. Movie Music as Moving Music: Emotion, Cognition, and the Film Score
Chapter 8. Time and Timing
Part III: Desire, Identification, And Empathy
Chapter 9. Narrative Desire
Chapter 10. Identification and Emotion in Narrative Film
Chapter 11. Gangsters, Cannibals, Aesthetes, or Apparently Perverse Allegiances
Chapter 12. The Scene of Empathy and the Human Face on Film
Notes
Select Bibliography
Contributors
Index
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