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Moving Viewers : American Film and the Spectator's Experience /
Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of mov...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Berkeley :
University of California Press,
2009.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Plantinga, Carl R. | |
| 245 | 1 | 0 | |a Moving Viewers : |b American Film and the Spectator's Experience / |c Carl Plantinga. |
| 264 | 1 | |a Berkeley : |b University of California Press, |c 2009. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2014 | |
| 264 | 4 | |c ©2009. | |
| 300 | |a 1 online resource (296 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 505 | 0 | |a 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 unconscious ; What 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 emotion ; 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 engagement ; Character 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 Spectator ; Shame 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 disgust ; The nature of movie disgust ; The rhetoric of movie disgust ; Polyester and ironic disgust ; The rhetoric of emotion in film -- Conclusion: Moving viewers. | |
| 520 | |a Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture. Through an in-depth discussion of mainstream Hollywood films, Plantinga investigates what he terms "the paradox of negative emotion" and the function of mainstream narratives as ritualistic fantasies. He describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes. He uses cognitive science and philosophical aesthetics to demonstrate why cinema may deliver a similar emotional charge for diverse audiences. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Motion pictures. |2 fast |0 (OCoLC)fst01027285 | |
| 650 | 7 | |a Motion picture audiences |x Psychology. |2 fast |0 (OCoLC)fst01027120 | |
| 650 | 7 | |a PERFORMING ARTS / Film & Video / General. |2 bisacsh | |
| 650 | 6 | |a Cinema |z États-Unis. | |
| 650 | 6 | |a Cinema |x Publics |x Psychologie. | |
| 650 | 0 | |a Motion pictures |z United States. | |
| 650 | 0 | |a Motion picture audiences |x Psychology. | |
| 651 | 7 | |a United States. |2 fast |0 (OCoLC)fst01204155 | |
| 655 | 7 | |a Films. |2 rvmgf | |
| 655 | 7 | |a Motion pictures. |2 lcgft | |
| 655 | 7 | |a Motion pictures. |2 fast |0 (OCoLC)fst01726252 | |
| 655 | 7 | |a Electronic books. |2 local | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/25330/ |
| 945 | |a Project MUSE - Custom Collection | ||
| 945 | |a Project MUSE - Archive Complete Supplement II | ||
| 945 | |a Project MUSE - Archive Film, Theater and Performing Arts Supplement II | ||