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2 books match the query 'Emotions in motion pictures'
Engaging the Emotions in Spanish Culture and History
Luisa Elena Delgado
Vanderbilt University Press, 2016
Rather than being properties of the individual self, emotions are socially produced and deployed in specific cultural contexts, as this collection documents with unusual richness. All the essays show emotions to be a form of thought and knowledge, and a major component of social life—including in the nineteenth century, which attempted to relegate them to a feminine intimate sphere.
The collection ranges across topics such as eighteenth-century sensibility, nineteenth-century concerns with the transmission of emotions, early twentieth-century cinematic affect, and the contemporary mobilization of political emotions including those regarding nonstate national identities. The complexities and effects of emotions are explored in a variety of forms—political rhetoric, literature, personal letters, medical writing, cinema, graphic art, soap opera, journalism, popular music, digital media—with attention paid to broader European and transatlantic implications.
The collection ranges across topics such as eighteenth-century sensibility, nineteenth-century concerns with the transmission of emotions, early twentieth-century cinematic affect, and the contemporary mobilization of political emotions including those regarding nonstate national identities. The complexities and effects of emotions are explored in a variety of forms—political rhetoric, literature, personal letters, medical writing, cinema, graphic art, soap opera, journalism, popular music, digital media—with attention paid to broader European and transatlantic implications.
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The Visceral Screen
Between the Cinemas of John Cassavetes and David CronenbergRobert Furze
Intellect Books, 2015
Narrative and spectacle describe two extremes of film content, but the oeuvres of John Cassavetes and David Cronenberg resist such categorization. Instead, Robert Furze argues, the defining characteristic of these directors’ respective approaches is that of “visceral” cinema—a term that illustrates the anxiety these filmmakers provoke in their audiences. Cassavetes demonstrates this through disregard for plot structure and character coherence, while Cronenberg's focus is on graphic depictions of mutilation, extreme forms of bodily transformation, and violence.
The Visceral Screen sets out to articulate alternative ways of appreciating film aesthetics outside the narrative/spectacle continuum. Cassavetes and Cronenberg are established auteurs, but the elements of their films that appear to be barriers to their artistic status—for example, slipshod method and lingering violence or pre-digital special effects—are reassessed here as other indicators of creativity. In this way, Furze encourages debates of what makes a film good or bad—beyond how much it is seen to adhere to particular, established models of filmmaking.
The Visceral Screen sets out to articulate alternative ways of appreciating film aesthetics outside the narrative/spectacle continuum. Cassavetes and Cronenberg are established auteurs, but the elements of their films that appear to be barriers to their artistic status—for example, slipshod method and lingering violence or pre-digital special effects—are reassessed here as other indicators of creativity. In this way, Furze encourages debates of what makes a film good or bad—beyond how much it is seen to adhere to particular, established models of filmmaking.
[more]