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de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.
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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.
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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.
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Guynn, William. "LUMINOUS AMBUSH: SEIZING THE HISTORICAL EXPERIENCE OF CATASTROPHE THROUGH FILM." Culture Crossroads 14 (November 9, 2022): 37–53. http://dx.doi.org/10.55877/cc.vol14.89.
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“There are wounds with which we should never cease to suffer, and, sometimes, in the life of a civilization, illness is better than health” [Ankersmit, “Remembering the Holocaust”]. My book, “Unspeakable Histories: Film and the Experience of Catastrophe” (2016), addresses films that depict 20th century atrocities and focuses on historical experience, not historical truth, and the emotions that still adhere to unresolved traumatic events. Using key concepts and analysis from this book, my goal here is to dem onstrate, through the interpretation of three films, how such historical experiences can be represented. In Yaël Hersonski’s “A Film Unfinished” (2010) the filmmaker deconstructs a Nazi propaganda film on the Warsaw Ghetto and brings us into direct contact with the experience of survivors. Rithy Panh in “S-21: The Khmer Rouge Killing Machine” (2003) and Joshua Oppenheimer in “The Act of Killing” (2012), use a technique I call psychodramatic mise?en?scène to incite perpetrators to reenact their genocidal acts. These films, among others, I argue, are capable of triggering moments of heightened awareness in which the reality of the past may be recovered in its material being.
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Wohlfeil, Markus. "Learning from the professionals: film tourists’ “authentic” experiences on a film studio tour." Arts and the Market 8, no. 1 (May 8, 2018): 47–63. http://dx.doi.org/10.1108/aam-08-2017-0020.
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Purpose The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours. Design/methodology/approach Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach. Findings The findings reveal that visitors experience the “authentic” representation of the working studio’s industrial film production process as an opportunity and “invitation to join” a broader filmmaker community and to share their own amateur filmmaking experiences with fellow visitors and professionals – just to discover eventually that the perceived community is actually the real “simulacrum”. Research limitations/implications Although using an autoethnographic approach means that the breadth of collected data is limited, the gain in depth of insights allows for a deeper understanding of the actual visitor experience. Practical implications The findings encourage film studio executives, managers and talent agents to reconsider current practices and motivations in delivering film studio tours and to explore avenues for harnessing their strategic potential. Originality/value Contrary to previous studies that have conceptualised film studio tours as simulacra that deny consumers a genuine access to the backstage, the findings of this study suggest that the real simulacrum is actually the film tourists’ “experienced feeling” of having joined and being part of a filmmaker community, which raises question regarding the study of virtual communities.
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Hesselberth, Pepita, and Carlos M. Roos. "Short Film Experience: Introduction." Empedocles: European Journal for the Philosophy of Communication 5, no. 1 (January 1, 2015): 3–12. http://dx.doi.org/10.1386/ejpc.5.1-2.3_2.
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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.
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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
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Schwan, Stephan, and Sermin Ildirar. "Watching Film for the First Time." Psychological Science 21, no. 7 (June 7, 2010): 970–76. http://dx.doi.org/10.1177/0956797610372632.
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Although film, television, and video play an important role in modern societies, the extent to which the similarities of cinematographic images to natural, unmediated conditions of visual experience contribute to viewers’ comprehension is largely an open question. To address this question, we compared 20 inexperienced adult viewers from southern Turkey with groups of medium- and high-experienced adult viewers from the same region. In individual sessions, each participant was shown a set of 14 film clips that included a number of perceptual discontinuities typical for film. The viewers’ interpretations were recorded and analyzed. The findings show that it is not the similarity to conditions of natural perception but the presence of a familiar line of action that determines the comprehensibility of films for inexperienced viewers. In the absence of such a line of action, extended prior experience is required for appropriate interpretation of cinematographic images such as those we investigated in this study.
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Kuhn, Annette, Daniel Biltereyst, and Philippe Meers. "Memories of cinemagoing and film experience: An introduction." Memory Studies 10, no. 1 (January 2017): 3–16. http://dx.doi.org/10.1177/1750698016670783.
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Over the past two decades, the relationship between cinema and memory has been the object of increasing academic attention, with growing interest in film and cinema as repositories for representing, shaping, (re)creating or indexing forms of individual and collective memory. This Special Issue on memory and the experience of cinemagoing centres on the perspective of cinema users and audiences, focusing on memories of films, cinema and cinemagoing from three continents and over five decades of the twentieth century. This introduction considers the relationship between memory studies and film studies, sets out an overview of the origins of, and recent and current shifts and trends within, research and scholarship at the interface between historical film audiences, the cinemagoing experience and memory; and presents the articles and reviews which follow within this frame. It considers some of the methodological issues raised by research in these areas and concludes by looking at some of the challenges facing future work in the field.
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D'Aloia, Adriano. "Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity." Film-Philosophy 14, no. 2 (October 2010): 181–90. http://dx.doi.org/10.3366/film.2010.0057.
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Shaw, Dan. "Robert Sinnerbrink (2016) Cinematic Ethics: Exploring Ethical Experience Through Film." Film-Philosophy 21, no. 2 (June 2017): 245–48. http://dx.doi.org/10.3366/film.2017.0046.
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Barrington, Matthew. "Luis Rocha Antunes (2016) Multisensory Film Experience: A Cognitive Model of Experiental Film Aesthetics." Film-Philosophy 23, no. 1 (February 2019): 102–4. http://dx.doi.org/10.3366/film.2019.0102.
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Kuhn, A. "Thresholds: film as film and the aesthetic experience." Screen 46, no. 4 (November 30, 2005): 401–14. http://dx.doi.org/10.1093/screen/46.4.401.
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Livingston, Paisley. "Questions about Aesthetic Experience." Projections 12, no. 2 (December 1, 2018): 71–75. http://dx.doi.org/10.3167/proj.2018.120209.
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These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.
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Tei, Dugba Ransford, and Lawrence Baffoe-Arthur. "Teaching History using Feature Films: The Ghanaian Experience." Journal of Education, Management and Development Studies 2, no. 2 (July 4, 2022): 40–48. http://dx.doi.org/10.52631/jemds.v2i2.94.
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This study examines the experiences of lecturers in using feature films to teach history in the University of Cape Coast. The study specifically sought to find out the availability of historical feature films for teaching history, the criteria regarding how historical feature films are used by lecturers in teaching history and the effects of historical feature films on teaching history. The study employed descriptive research design. In all, four (4) lecturers formed the sample size for the study. The instrument used to collect data was semi-structured interview guide. The study found out that the University did not have a film library where lecturers could visit to access films for teaching. It was also revealed that most history lecturers in the university followed a wide range of guidelines whenever they use films to teach. Lastly, it was revealed that feature films usage had positive effects on the teaching and learning of history. Based on the results, it was suggested that there is the need for all stakeholders in the various universities to contribute in putting measures in place to ensure that there is the establishment of film libraries where lecturers could visit to access films for their instructional practices.
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Philip, VG Bijoy. "Left Bank Cinema: Memories of History and the Experience of Time." Tattva - Journal of Philosophy 11, no. 1 (January 1, 2019): 1–18. http://dx.doi.org/10.12726/tjp.21.1.
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In this paper, I use two films—Les Statues MeurrentAussi (Statues also Die, 1953) directed by Resnais and Marker and Sans Soleil (Sunless, 1983) as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave.
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Treveri Gennari, Daniela. "Understanding the Cinemagoing Experience in Cultural Life." TMG Journal for Media History 21, no. 1 (June 28, 2018): 39. http://dx.doi.org/10.18146/2213-7653.2018.337.
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The new cinema history approach asserts the importance of investigating the historical reception of films. In the past two decades, empirical research on film audiences has significantly developed methodologies and questions related to film and memory. Some of these studies concentrate on a period of time in which cinema was an essential leisure activity for millions, before the arrival of television, multiplexes, videos and home cinema. Combining ethnographic audience study with cultural and cinema history has allowed new insights into the historical reception of films and confirmed the vital role of oral history for a better understanding of cinema audiences. Italian Cinema Audiences (2013–2016) – an AHRC-funded inter-institutional research project – sits precisely within this new body of research and responds to the urge of using a bottom-up approach to shed new light on the cultural history of a country in a particular historical moment. This article will make use of the findings of the Italian Cinema Audiences research project to explore the role of oral history in the process of understanding cinemagoing as a cultural practice and to better comprehend how this type of research can enrich our understanding of the cinemagoing experience in particular and film cultures more broadly. It will also reflect on the process of remembering what I will define as ‘memories of pleasure’.
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Puckett, Thomas F. N. "A Phenomenology of Film Experience." American Journal of Semiotics 15, no. 1 (2000): 311–18. http://dx.doi.org/10.5840/ajs200015/161/414.
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Gallese, Vittorio. "Naturalizing Aesthetic Experience." Projections 12, no. 2 (December 1, 2018): 50–59. http://dx.doi.org/10.3167/proj.2018.120207.
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The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as presented in his Film, Art, and the Third Culture against the background of a new model of perception and imagination: embodied simulation.
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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.
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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role as historian, educator, and entertainer, with an overriding interest in building a sustainable film industry in the Caribbean. Films reviewed include: Outloud, A Safe Space, Sweet Micky for President, and My Father's Land.
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Schultz, Corey Kai Nelson. "Memories in Performance: Commemoration and the Commemorative Experience in Jia Zhangke's24 City." Film-Philosophy 20, no. 2-3 (October 2016): 265–82. http://dx.doi.org/10.3366/film.2016.0015.
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In this article, I examine how 24 City (2008) commemorates the factory and its workers through combining memory, the act of remembering, and its recitation, thus creating ‘memories in performance’ that construct an emotional history of this group. I use a Chinese word for commemoration, jinian ([Formula: see text]) to structure this paper into the three components of memory ([Formula: see text]), the act of remembering ([Formula: see text]), and mindful thought and recitation ([Formula: see text]), all of which combine to commemorate the factory and the sacrifice of the worker class. I examine how both the real and fictional interviews in the film create the same emotional meaning through producing emotions that are ‘real’ regardless whether their source is real or fake, thus emphasizing that memory is not only about history and ‘fact,’ but also, more importantly, about the emotion it conveys. I consider how the memories are affective in that they present a past that is being remembered, performed and retold in the present, thus enabling both the real and fictional memories to become ‘real’ in their narration. I analyze how the lived and fictive memories and their remembrance produces a filmic space to commemorate the factory and the workers' sacrifices, and argue that this produces an intimacy with the viewer, in that it presents the workers' history as personal stories being remembered, recalled, and felt again, not sterile facts being repeated. I conclude by considering how this film is indicative of a larger commemorative turn, and how it offers not only a ‘sight’ of commemoration (as an example of Chinese visual culture), but also a site of commemoration – a commemorative object as well as a commemorative experience.
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Creţu, Daniela-Maria. "Gaining insight into teaching profession by using film: a preservice teachers’ experience." MATEC Web of Conferences 290 (2019): 13003. http://dx.doi.org/10.1051/matecconf/201929013003.
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Films can be used as instructional tools in higher education in different disciplines. In the context of teacher education, films with and about teachers and pupils are valuable resources for learning about the teaching profession. The purpose of this study is to examine the pre-service teachers’ reflections on a film with an educational content and message - The Triumph (The Ron Clark Story, 2006). One research question guided the investigation: What are the students’ cognitive and emotional gains for the teaching profession as a result of watching this film? The participants consisted of eighty-two second year students, enrolled in an initial teacher education program at a Romanian university. At the end of a one-semester course, named Pedagogy (Instruction and Students’ Assessment) pre-service teachers were invited to watch a film and then to reflect about it, by completing an open-ended questionnaire. The responses were analyzed through the content analysis technique. Examples of comments made by preservice teachers are presented and analyzed. The results show a range of understandings gained by future teachers through the use of the film.
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Fuery, Kelli. "Empty Time as Traumatic Duration: Towards a Cinematic Aevum." Film-Philosophy 24, no. 2 (June 2020): 204–21. http://dx.doi.org/10.3366/film.2020.0139.
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Frank Kermode uses the term aevum to question the links between origin, order, and time, associating experience with spatial form. Without end or beginning, aevum identifies an intersubjective order of time where we participate in the “relation between the fictions by which we order our world and the increasing complexity of what we take to be the ‘real’ history of that world”; being “in-between” time is a primary quality of the aevum. Regarding cinema, aevum identifies this third duration as emotional experience, occuring as traumatic time. It facilitates thinking beyond lived temporal experience of everyday life to a philosophy of experience that accounts for alternative sensoria of time, similar to the traumatic encounter. The cinematic aevum is equally not of the material, corporeal world; concurrently associating human reality with the myths of the human condition. To say that a cinematic aevum exists following traumatic scenes, is to specify a visual “time-fiction” in film, to recognise a spatial form that belongs neither to the finite time of the film's narrative, or of the “eternal” time outside the film's diegesis, but participates in the order (and linking) of both. Wilfred Bion's psychoanalytic works are used to discuss the traumatic symptom of “empty time”: the inability to recollect, to make links between memory and experience, demonstrating a version of empty time that works as an external violence to spectator perception. Bion's theories offer fresh psychoanalytic perspective on trauma and its relationship to time by challenging classical ways of thinking about inner and outer perception.
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Gow, Peter. "Cinema da floresta." Revista de Antropologia 38, no. 2 (December 30, 1995): 37–54. http://dx.doi.org/10.11606/2179-0892.ra.1995.111558.
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This essay is a phenomenological ethnography or cinema as meaningful lived experience in the Alto Ucayali. It also explores the analogy between films and hallucinogen ayahuasca called "cinema of the forest" that renders the normally-invisihle powerful beings in visible form . If film and ayahuasca are similar, both experiences differ from dreaming.
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Gow, Peter. "Cinema da floresta." Revista de Antropologia 38, no. 2 (December 30, 1995): 37–54. http://dx.doi.org/10.11606/2179-0892.ra.1995.111558.
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This essay is a phenomenological ethnography or cinema as meaningful lived experience in the Alto Ucayali. It also explores the analogy between films and hallucinogen ayahuasca called "cinema of the forest" that renders the normally-invisihle powerful beings in visible form . If film and ayahuasca are similar, both experiences differ from dreaming.
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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (October 2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.
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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of Rikyū (Rikyū ni tazuneyo, Tanaka Mitsutoshi, 2013) is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character, his individual aesthetic practices, and his personal political circumstances. I will draw upon the work of Gilles Deleuze alongside Kyōto School philosopher Nishida Kitarō in order to articulate the way in which Ask This of Rikyū explores the relation of artistic activity and aesthetic experience to the general ethical and political forces that feed into history.
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Marsh, Tim. "Presence as Experience: Film Informing Ways of Staying There." Presence: Teleoperators and Virtual Environments 12, no. 5 (October 2003): 538–49. http://dx.doi.org/10.1162/105474603322761324.
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Experience and the activities that provide it are associated with the virtual places where they were encountered, and this may instill in our imagination an illusion of an environment other than where an interactive mediated environment 1 (a virtual environment, virtual reality, or computer game) resides (home, work, or on the move). Appropriate and/or stimulating experience may encourage users to continue, or become engaged in, pursing activities in a mediated environment. The termstaying there is used to describe this situation of engagement. Conversely, if experience from use does not match up or deliver on expectations or purpose, or it is dull, boring, or uninteresting, then it may not hold user's attention and can potentially shift attention from the mediated to the real world. This paper describes the background work towards the development of a framework of experience with the aim of informing analysis and design of interactive mediated environments (IMEs) to induce/evoke stimulating experience in users and to encourage them in “staying there.” Informed from film-making, three levels of experience are explored: voyeuristic (“joy of seeing the new and the wonderful”), visceral (thrill of spectacle and attractions), and vicarious (transfer of emotion through another person, being, or object). With varying degrees of emphasis, story is experienced by spectators through one or a combination of these three to provide meaning. Drawing a parallel between developments in film and IMEs, situations, circumstances, features, and elements of IME design are identified that can induce/evoke these experiences in users. As well as informing analysis and design of experience of IMEs, this may provide an alternative way to reason about engagement and presence. 1 The term interactive mediated environment is used to encapsu-late similarities in many current, new, and emerging media types (vir-tual reality, virtual environments, computer games, the Internet) com-prising three-dimensional computer generated/manipulated visual environment or space (graphics, video, photographic, and so on) and provide the potential for user activities within the environment. To enhance a line of reasoning, individual media/platforms are referred to by name.
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.
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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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Miner, Kyle. "Toward a Continuous Field: Folded Subjectivities and Control in the Affective Networks of Upstream Colour." Film-Philosophy 23, no. 1 (February 2019): 35–54. http://dx.doi.org/10.3366/film.2019.0097.
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Shane Carruth's 2013 film Upstream Colour provides a model for considering identity and subject formation in what Steven Shaviro calls the “network society.” Shaviro argues that our contemporary mode of experience, at least as rendered through popular media, is characterized by “flows of affect” produced to hail us at every turn. Carruth's film offers the possibility that living in the network society means not only that we are subject to such flows, but that individuals are subject to invasive modes of fragmentation and commodification as producers of their own affect (in this case, memory and experience). Building on Shaviro's own definition of a network, I focus on how the mental connections forged between characters represent the nodal connections Alexander Galloway and Eugene Thacker say characterize network formation and behavior, and how the access rendered over those characters by the primary antagonist (referred to as The Sampler) works as a kind of “protocological control.” I then turn to Deleuze's theorization of the fold to discuss how new modes of subjectivity and relationality are modeled in the characters' phenomenological experience of these mental connections, in which distinctions of personal subjectivity and memory begin to blur and overlap. Finally, I return to Shaviro for implications of this model of experience, and to show how absorption in and by the network poses new possibilities for connection as well as potential for fragmentation and commodification.
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Tikka, Pia. "Screendance as enactment in Maya Deren’s At Land." DAT Journal 3, no. 1 (June 12, 2018): 9–28. http://dx.doi.org/10.29147/dat.v3i1.66.
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The dancer, choreographer, and filmmaker Maya Deren can be seen as one of the pioneers of screendance. Her experimental films have challenged conventional plot- driven mainstream cinema by emphasizing an ambiguous experience, open for multiple interpretations. For Deren film viewing is a socially determined ritual embodying intersubjectively shared experiences of participants. This makes her films particularly interesting for today’s neurocinematic studies. Deren’s ideas also anticipate the recent enactive mind approach, according to which the body-brain system is in an inseparable manner situated and coupled with the world through interaction. It assumes that both private, such as perception and cognition, and intersubjective aspects of human enactment, such as culture, sciences, or the arts, are based on the embodiment of life experience. Reflecting this discourse, Deren’s film At Land is analyzed as an expression of a human body-brain system situated and enactive within the world, with references to neuroscience, neurocinematic studies, and screendance.
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Hanich, Julian. "How Many Emotions Does Film Studies Need?" Projections 15, no. 2 (June 1, 2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.
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A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
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Bueno, Claudio Celis. "Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience." Film-Philosophy 25, no. 1 (February 2021): 70–73. http://dx.doi.org/10.3366/film.2021.0159.
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Tan, Eduard Sioe-Hao, and Valentijn Visch. "Co-Imagination of Fictional Worlds in Film Viewing." Review of General Psychology 22, no. 2 (June 2018): 230–44. http://dx.doi.org/10.1037/gpr0000153.
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The typical experience of narrative film is characterized by a remarkable intensity as to absorption and emotion. Current explanations attribute the experience to the realistic perceptual impact of the film. This theoretical article sets out to explain the experience as the result first of the film-viewer's acts of imagination of fictional worlds. More specifically, it seems suitable to conceptualize the film experience as arising from pretense play. Pretense play can afford room for free imagination leading to intense emotion, as well as restrictions to the imagination “quarantining” ( Leslie, 1987 ) pretended fictional worlds from the real world, thus safeguarding the enjoyability and adaptiveness of the experience. Applying the concept of joint pretense for the first time to film, we follow Walton (1990) in his account of fiction as an institutionalized form of pretense play enabling intense emotional experiences in the cinema, including unpleasant ones to be appreciated by film-viewers. Thus, the model of co-imagination has as components (a) the generation of fictional film worlds—the acts of pretense in the narrower sense; (b) the participation in; and (c) the appreciation of these. We argue that the account of the experience can be improved if it is conceived as the outcome of joint pretense, in which film-viewers in their imagination activity team up with filmmakers—experts by eminence in prompting the viewers’ imagination. Finally, in our model of co-imagination in popular film joint pretense acts are layered ( Clark, 1996 ) as to the contents of the fictional worlds, with the lowest layer representing the collaboration for imagination between filmmaker and film-viewer in the actual world and the higher ones representing fictional worlds of increasing depth of imagination. Because of asymmetric access relations among layers, returns to the actual world in advanced pretense are difficult, which helps quarantining and the sense of absorption.
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Sari, Halimah Kartika, and Nungki Heriyati. "TRANSMISSION OF TRAUMATIC EXPERIENCE THROUGH FLASHBACK IN THE FILM "SPEAK"." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (April 23, 2021): 128–40. http://dx.doi.org/10.34010/mhd.v1i1.4851.
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This research entitled ‘Transmission of Traumatic Experience through Flashback in The Film ‘Speak’’ aims to analyze the traumatic experience of Melinda delivered through some flashback illustration as narrative device in film. The method used descriptive analysis to describe the traumatic experience in the film and the data collected is taken the screenshots that categorized based on the Discourse time and Story time in order to show when the flashback occurs. Hence, to analyze the data use Cathy Caruth (1996) examined the experience of trauma is the agony of fear and anxiety that is sometimes difficult to control due to a sudden recall memory in mind and Seymour Chatman (1980) about flashback (retrospection) in film represents the repetition of memory or reviewing the past events or situations. In the discussion found that Melinda as a teenage girl has a mental damage due to the traumatic experience that occurred in the past. The experience is told in the form of flashback that played repetitively in different moment in the film. Thus, the result reveals that the repetition of flashback is used to complement the information and reveal the Melinda’s traumatic experiences which make her could not speak out about the problem sexual violence that occurred to her.
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Llinares, Dario. "A Cinema for the Ears: Imagining the Audio-Cinematic through Podcasting." Film-Philosophy 24, no. 3 (October 2020): 341–65. http://dx.doi.org/10.3366/film.2020.0149.
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Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. By focusing on film-centred podcasts specifically, which, in terms of content and form, are implicitly and often explicitly concerned with properties of the cinematic, I argue for a more conceptual analysis of the idea of a visual form of audio. While many film-oriented podcasts provide a supplementary celebration of cinema culture rather than manifesting a unique cinematic experience of their own, there are examples of film-centred podcasts that attempt to actualise what I will call an “audio-cinematic” experience, deploying the creative potential of the podcast to manifest an experiential aura that evokes a cinematic imagination. I analyse the sonic dimensions of audio-cinematic podcasts including my work with Neil Fox on The Cinematologists Podcast.
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Sherman, Sarah, Jeni Harden, Dawn Cattanach, and Sharon T. Cameron. "Providing experiential information on early medical abortion: a qualitative evaluation of an animated personal account, Lara’s Story." Journal of Family Planning and Reproductive Health Care 43, no. 4 (July 8, 2017): 269–73. http://dx.doi.org/10.1136/jfprhc-2016-101641.
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BackgroundAn animated film has been created to provide information to women requesting early medical abortion (EMA). The 9 min film, Lara’s Story, was created using one woman’s personal account of her experience. This study evaluated the views of women who had recently undergone EMA on the film and its potential usefulness in providing experiential information to women requesting EMA.MethodWomen who had undergone EMA within the past month were recruited. They were shown the film and interviewed in a semi-structured style. Interviews were recorded and transcribed verbatim. They were analysed using cross-sectional indexing and thematic analysis with an inductive approach.Results13 women were interviewed. All reported that the film gave a realistic account of EMA and most agreed that they would have wanted to watch it before EMA had it been available. Some said that it might help women who were struggling with decision-making with regard to EMA and all said that there should be unrestricted access to the film from the website of the abortion service. The women commented that the animated style of the film allowed all groups of women to relate to the story. Some commented that Lara’s experience of pain, bleeding and side effects such as nausea differed from their own and therefore felt that it would be useful to make more than one woman’s account available.ConclusionThe availability of animated audiovisual films recounting women’s experiences of EMA might be a valuable adjunct to clinical information for women seeking EMA.
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Smieskova, Alena. "Violence as art experience." Ars Aeterna 8, no. 1 (June 1, 2016): 1–12. http://dx.doi.org/10.1515/aa-2016-0001.
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AbstractThe article discusses Nicolas Winding Refn’s film Only God Forgives (2013), and focuses on questions of artistic representation and reception in relation to such cinematic elements as genre film, style, mise-en-scène, graphic violence and art experience. The arguments for the analyses are supported by John Dewey’s theory of art as experience where he claims that aesthetic experience is essentially infused with emotions that provide for a unifying quality cementing diverse constituent parts of the artwork. The article also takes into consideration Refn’s standpoint on the use of violence in art. While violence is a way of externalizing emotions, as Refn claims, it may not necessarily be the real experience viewers want to entertain; however, through an art experience, which is integral and complete as Dewey asserts, they are able to perceive and detect meanings that were “scattered and weakened in the material of other experiences”.
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Cunnington, Trevor James. "Homeopathic Repetition and Memories of Underdevelopment : The Dialectic of Subjective Experience and Objective Historical Forces." Film-Philosophy 17, no. 1 (December 2013): 383–401. http://dx.doi.org/10.3366/film.2013.0022.
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Grodal, Torben. "The PECMA Flow: A General Model of Visual Aesthetics." Film Studies 8, no. 1 (2006): 1–11. http://dx.doi.org/10.7227/fs.8.3.
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This article argues that the central dimensions of film aesthetics may be explained by a general theory of viewer psychology, the PECMA flow model. The PECMA flow model explains how the film experience is shaped by the brain‘s architecture and the operation of different cognitive systems; the model describes how the experience is based on a mental flow from perception, through emotional activation and cognitive processing, to motor action. The article uses the flow model to account for a variety of aesthetic phenomena, including the reality-status of films, the difference between narrative and lyrical-associative film forms, and the notion of ‘excess’.
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Macionis, Niki, and Beverley Sparks. "Film-induced Tourism: An Incidental Experience." Tourism Review International 13, no. 2 (October 1, 2009): 93–101. http://dx.doi.org/10.3727/154427209789604598.
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Silver, Susan. "Film Review: Hospice—A shared experience." American Journal of Hospice Care 5, no. 3 (May 1988): 7. http://dx.doi.org/10.1177/104990918800500306.
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Wind, Annet. "Film Alzheimer Experience slaagt in opzet." Huisarts en wetenschap 54, no. 10 (October 2011): 527. http://dx.doi.org/10.1007/s12445-011-0253-2.
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Kappelhoff, Hermann, and Cornelia Müller. "Embodied meaning construction." Metaphor and the Social World 1, no. 2 (December 31, 2011): 121–53. http://dx.doi.org/10.1075/msw.1.2.02kap.
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In this article, we argue that multimodal metaphors are grounded in the dynamics of felt experiences. Felt experiences are inherently affective, with immediate sensory qualities and an affective stance. We suggest that as such, they ground the emergence and activation of metaphors. We illustrate this idea with analyzed data from a film and face-to-face conversation. Our consideration of expressive movement in speech, gestures, and feature film does not therefore target the analysis of the speech and gestures of actors. Rather we suggest an approach firmly rooted in film theory, and which considers films as composed of cinematic expressive movements. The basic tenet of our proposal is as follows: seeing cinematic expressive movements trigger the same kind of felt experience in the spectator as a bodily expressive movement that comes along with speech. Expressive movements are held to provide the experiential ‘embodied’ grounds for the construction of metaphors.
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Till, Benedikt, Markus Strauss, Gernot Sonneck, and Thomas Niederkrotenthaler. "Determining the effects of films with suicidal content: A laboratory experiment." British Journal of Psychiatry 207, no. 1 (July 2015): 72–78. http://dx.doi.org/10.1192/bjp.bp.114.152827.
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BackgroundMedia stories on suicide can increase suicidal ideation, but little is known about variations in media effects with regard to audience vulnerability and story contents.AimsWe investigated the impact of three drama films with suicidal content that varied with regard to the final outcome (suicide completion, mastery of crisis and death by natural causes) and tested the moderating effect of baseline suicidality of the participants on the effects.MethodWithin a laboratory setting, we randomly assigned 95 adults to three film groups. We used questionnaires to analyse the effects of the films on mood, depression, life satisfaction, self-worth, assumed benevolence of the world and suicidality, as well as identification with the protagonist. We stratified the sample into participants with suicidal tendencies above and below the sample median.ResultsThe film that ended with the protagonist's suicide led to a deterioration of mood particularly in individuals with baseline suicidality below the median, who also experienced an increase in self-worth. Participants with stronger suicidal tendencies experienced a rise in suicidality that depended on their level of identification with the protagonist. The film featuring the main character positively coping with his crisis increased life satisfaction particularly among participants with higher suicidal tendencies.ConclusionsThe effects of suicide-related media material seem to vary with individual vulnerability and with type of media portrayal. Individuals with lower vulnerability experience more emotional reactions when exposed to a film culminating in suicide, but individuals with higher vulnerability experience a rise in suicidal tendencies particularly if they identify with the protagonist who died by suicide. In contrast, portrayals of individual mastery of crisis may have beneficial effects in more vulnerable individuals.
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Bergera, Iñaki. "Designing from cinema: Film as trigger of the creative process in architecture." Journal of Technology and Science Education 8, no. 3 (May 21, 2018): 169. http://dx.doi.org/10.3926/jotse.372.
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The present paper examines, in a case study format, the use of films, short films and audiovisual documentaries as reasoning and references for design assignments during the first years of an architectural degree course. The aim of this fruitful and comparable experience is not so much to study and verify the well-known synergies between film and architecture, but to emphasize the methodological importance of endowing students in their first experience of design projects with realistic and feasible support – through visual references – that can increase their awareness of the desire for realism to which every project aspires. Project simulacrum finds an ally in the realistic fiction present in film. The association between film and architecture is thus placed at the service of learning and design methodology, as a means, not as an end.
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Xie, Zheng. "The Symmetries in Film and Television Production Areas Based on Virtual Reality and Internet of Things Technology." Symmetry 12, no. 8 (August 18, 2020): 1377. http://dx.doi.org/10.3390/sym12081377.
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To enrich the form of film and television production, improve the level of film and television production, and satisfy the film-watching experiences of audiences, based on Virtual Reality (VR) and the Internet of Things (IoT) technology, with the help of S3 Studio Max and Photoshop software, a VR film-watching system is built, which realizes the interaction with users on different devices through somatosensory interaction sensors. In addition, by utilizing Twirling720, the panoramic sound recording is achieved. Through this system, a smart IoT platform between users, films, and devices is built. Finally, this platform is utilized to produce the film and television work Van Gogh in Dream, which is evaluated and analyzed through questionnaires. The results show that the technology system of this set of film and television production is complete, and the production level of film and television works have been significantly improved. The audience recognition of film and television production based on this technology is 55%, and the impression evaluation is over 56%. However, knowledge acquisition is only 20%, and historical understanding is above 50%. These dimensions show that compared with traditional film production, artificial intelligence films can bring a better experience to audiences, but knowledge acquisition is less. Therefore, professional knowledge will be improved at the later stage. The above results provide a theoretical basis for the application of artificial intelligence technology in film production and production mode.
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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.
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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
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Huebner, Karla. "Nostalgia and La Jetée." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 95–107. http://dx.doi.org/10.5195/contemp.2015.132.
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This essay contemplates Chris Marker’s film La Jetée (1962) via Svetlana Boym’s conceptualization of “restorative” versus “reflective” nostalgia. It looks in part at the film’s presentation of the protagonist’s restorative nostalgia, but unlike previous examinations of nostalgia’s role in La Jetée, this essay foregrounds the viewer’s own experience of a reflective nostalgia for the film. The author considers her personal and subjective, and historically specific, encounters with La Jetée in relation to how the film may produce a similar nostalgia in others through its storytelling and unusual combination of photographic and cinematic form. Drawing also on Réda Bensmaïa’s semiotic and psychoanalytic analysis of the film’s “pictogrammatic” quality, the essay further considers the possible roles of trauma and masochism in the film and for its viewers, and relates the experience of watching La Jetée to that of watching An Occurrence at Owl Creek Bridge (also 1962). The essay therefore situates both films in the context of historically situated yet ever-changing lived experience.
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Sennikova, Veronika V. "TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 126–38. http://dx.doi.org/10.17223/22220836/43/9.
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Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.
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Bartsch, Anne, Anja Kalch, and Mary Beth Oliver. "Moved to Think." Journal of Media Psychology 26, no. 3 (January 1, 2014): 125–40. http://dx.doi.org/10.1027/1864-1105/a000118.
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Recent conceptualizations of eudaimonic entertainment and aesthetic experience highlight the role of emotions in stimulating rewarding experiences of insight, meaning, and reflectiveness among entertainment audiences. The current evidence is mainly correlational, however. This study used an experimental approach to examine the assumed causal influence of being moved, on reflective thoughts. Participants were randomly assigned to see one of two versions of a short film that elicited different levels of feeling moved, while keeping the cognitive, propositional content constant. Feeling moved was conceptualized and operationalized as an affective state characterized by negative valence, moderate arousal, mixed affect, and by the labeling of the experience in terms of feeling moved. As expected, the more moving film version elicited more reflective thoughts, which in turn predicted individuals’ overall positive experience of the film. The effect of the film stimulus on reflective thoughts was fully mediated by individuals’ affective state.
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Matošević Radić, Mijana, Ante Zubčić, and Ivana Tomić. "STORYTELLING – THE TOOL OF DESTINATION MANAGEMENT COMPANIES FOR CREATING AN EXTRAORDINARY EXPERIENCE IN FILM TOURISM." DIEM: Dubrovnik International Economic Meeting 6, no. 1 (September 2021): 176–82. http://dx.doi.org/10.17818/diem/2021/1.18.
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Experience-based industries, such as tourism, gain a competitive advantage when they create an extraordinary experience for their customers. Contemporary tourists prefer authentic experiences, acquisition of new knowledge and skills as well as participation in community activities. Therefore, they don’t want to consume only the products and services in the destination, but they are really interested in the story behind the tourist products. In film tourism, the story has a special role since it is a type of product that arises from the individual experience of the location, which is displayed in some form of media presentation. Consequently, it is particularly important for the destination management companies to use tools and techniques that can influence the customer experience. In this context, the aim of this paper is to analyse possibility of destination management companies to use storytelling in creating film tourism products. Although storytelling is often used by destination management organization as a destination marketing tool, destination management companies can use it to create high value-added products. This paper analyzes an example of good practice how a destination management company can use storytelling in creating and developing its products. However, as the example of good practice emphasizes, the application of storytelling in creating extraordinary experience requires an interdisciplinary approach and great creativity of experts from different fields, where additional value can be achieved through the use of modern information and communication technology. Applying this approach, storytelling is a tool that destination management companies can use very successfully to transform the film tourism product into an extraordinary experience for their customers. Keywords: storytelling, destination management company, film tourism