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|Additional Physical Format:||Print version:
Moving Viewers : American Film and the Spectator's Experience.
CA : University of California Press, ©2009
|Material Type:||Document, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
|Description:||1 online resource (295 pages)|
|Contents:||Cover; Title; Copyright; Contents; List of Illustrations; Acknowledgments; Introduction: Affect and the Movies; The Significance of Affect; A Theory of Affect at the Movies; In Defense of Films; Spectators and Roles: A Brief Note on Terminology; 1. Pleasures, Desires, Fantasies; Movie Pleasures; Cognitive Play; Visceral Experience; Sympathy, Antipathy, and Parasocial Engagement; Narrative Scenarios and Emotional Satisfactions; Reflexive and Social Pleasures; The Multiple Pleasures of the Spectator; Movie Desires; Movies as Fantasies; Movies and Dreams; 2. Movies and Emotions. Automaticity and the Psychological UnconsciousWhat Is Emotion?; A Cognitive-Perceptual Approach; Basic Concepts and Terms; Emotions inside and outside the Movie Theater; The Paradox of Fiction; Play and the Regulation of Emotion; Kinds of Emotions; Direct, Sympathetic/Antipathetic, Artifact, and Meta-emotions; Memory Traces and Associations; Summary: Emotions at the Movies; 3. Stories and Sympathies; Affective Prefocusing; Paradigm Scenarios; Primary Emotions and the Movies; Hollywood and the New Hollywood; Narrative and Character; Classical Narrative Structure and Emotion. Character EngagementCharacter Goals and Engagement; The Structure of Engagement; Character Engagement and Spectator Difference; What Character Engagement Is: A Summary; 4. The Sensual Medium; Seeing and Hearing Movies; Film and the Body; Direct Affect; Representing Emotional Experience; Affective Mimicry; Mimicry and the Face; Mimicry and the Body; Music, Sound, and Affect; Affect and Contemporary Hollywood Style; 5. Affective Trajectories and Synesthesia; Narrative Focus; Character Goals and Narration; Synesthetic Affect and Fittingness; Narrative Scenarios and Synesthetic Affect. Shame, Guilt, and the SpectatorShame and Guilt as Meta-emotions; Shame/Guilt Scenarios and Synesthetic Affect; Four Parameters of Affective Trajectories; 6. Negative Emotions and Sympathetic Narratives; Sympathetic and Distanced Narratives; The Paradox of Negative Emotions; Hume on the Paradox of Tragedy; Catharsis?; Managing the Negative Emotions; The Spillover Effect; Fantasies of Assurance and Control; Ideology in Sympathetic and Distanced Narratives; 7. The Rhetoric of Emotion: Disgust and Beyond; The Affective Rhetoric of Film; The Case of Disgust; Disgust Defined. The Rise of Movie DisgustThe Nature of Movie Disgust; The Rhetoric of Movie Disgust; Polyester and Ironic Disgust; The Rhetoric of Emotion in Film; Conclusion: Moving Viewers; Notes; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y; Z.|