Providing an alternative to psychoanalytically based descriptions, this book presents an unique new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Grodal shows how films activate effects in the viewer and how these effects are molded by genres (horror, melodrama) which determine the way in which characters will react in given situations.
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"Groundbreaking....Throughout, Grodal refers to an admirably wide range of films; there is a particularly fascinating section on Gone with the Wind and Vertigo. Must reading for anyone interested in film theory. Brilliant."--Choice
About the Author
Professor Torben Kragh Grodal is Professor of Media Studies at The University of Copenhagen, Denmark
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Complete Book Contents,
By Curupira (Salvador, Bahia Brazil) - See all my reviews
This review is from: Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition (Paperback)
INTRODUCTIONEmotions, Emotional Modalities, and Genres of Visual Fiction Emotions and Previous Film Studies Reductionism, Universalism, and Culturalism Cognitivism and its Relations to Other Theoretical Schools Outline of the Book PART I: VISUAL FICTION AS EMBODIED MENTAL FLOW 1 FICTION, SYMBOLIC SIMULATION, AND REALITY Formalism, Realism, and Ecological Conventions Hypothetical Acts, Thoughts, and Other Types of Symbolic Simulation Attention, Salience, and Reality-Status Reality Indications in Visual Communication 2 COGNITION, EMOTION, BRAIN-PROCESSES, AND NARRATION Neural Structures and Media Reception Emotions and the Autonomic Nervous System Lyrical Perception, Association, and Narrative Enaction Narrative and Lyrical Functions as Indicated by Brain Architecture Aesthetic Dimensions and a Model of the Narrative Flow 3 ASSOCIATIVE NETWORKS, FOCUS OF ATTENTION, AND ANALOGUE COMMUNICATION Attention Networks of Associations and Meanings; Priming and Activation Priming, Sequencing, Framing, and Focus of Attention Images, Visual Thinking, and Visuo-Motor Schemata Audiovisual Communication: Signs or Processes of Perception and Cognition PART II: NARRATIVES AS BASIC MENTAL MODELS 4 COGNITIVE IDENTIFICATION AND EMPATHY Character Identification in Film Theory Empathy, Understanding of Others, and Canonical Narratives Cognitive Identification with Subject-Actants Cognitive Identification, Empathy, and Motivation Objectivity of Emotions and Cognitive Labelling of Arousal Emotions, Affects, and Models of Narrative Homeostasis A Critical Digression on the Use of `Voyeurism' in Film Studies 5 INTENTIONS, WILL, GOAL, CONSCIOUSNESS, AND HUMANNESS Humans, Robots, Monsters, Psychopaths, and Clowns Will, Goal, and Self-Consciousness Terminator II, Emotions, and Free Will Narration as Repetition and as Active Construction 6 SUBJECTIVITY, CAUSALITY, AND TIME Subjectivity in Visual Fiction Affective Transactions by Cueing of Distal or Proximal Attention Location Dream and Subjectivity The First Dream Sequence in Wild Strawberries Subjective and Objective Time Temporal Schemata and Modalities PART III: A TYPOLOGY OF GENRES AND EMOTIONS 7 A TYPOLOGY OF GENRES OF FICTION The Dimensions of Fiction-Reception Genre Theory, Genre Typology, and Genre Moods Associative Lyricism Canonical Narratives of Action Obsessional Fictions of Paratelic Cognition and Enaction Melodramas of the Passive Position Fictions of Horror Schizoid Fictions, Moods of Grief, and Static Melancholia Comic Fictions Metafiction: Distanciation, Real-World Embedding, and Frames PART IV: LAUGHTER, DISTANCE, HORROR, AND TEARS 8 COMIC FICTIONS Laughter as a Hypothesis of Reality-Status and as Autonomic Response The Comic and Laughter as Escape-Buttons for Mental Overload The Comic and Laughter as Elements in Reactions of Pleasure The Comic and Laughter as Regulators of Empathic Identification The Comic, Laughter, Empathy, and Voluntary Acts The Comic, Laughter, and Narrative Sequences 9 METAFRAMES AS EMOTION-FILTERS AND BRACKETS Reality, Framing, Attentional Salience, Free Will, and Counter-Cinema Defamiliarization and Distanciation Godard and the Lyrical Effect of `Self-Consciousness' Framing and Filtering of Emotions by Extradiegetic and Diegetic Motivation Naturalist Determinism, Realism, and Other Genre Patterns Fiction, Game, Role, and Metafiction Cliche as Frame, Stereotype, and Common Denominator Moonlighting: The Dream Sequence Always Rings Twice 10 CRIME AND HORROR FICTION Crime Fiction and Defamiliarization versus Voyeurism Thrillers and Hard-Boiled Crime Fiction Cognitive Consistency or Dissonance in Thrillers and Horror Fiction Paranoia and Obsessional Doubt in Thrillers and Horror Fiction 11 MELODRAMA, LYRICS, AND AUTONOMIC RESPONSE Melodrama Wind, Fire, and Passionate Heteronomy in Gone With the Wind Tensions of Fabula and Plot in Vertigo Vertigo's Web of Associations Space Dimensions, Autonomic Response, and the Relabelling of Arousal The Sublime, the Passionate, and the Modern RECAPITULATION AND CONCLUSION Glossary of Terms List of References Index Source: Amazon.ca (!)
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