Film Structure and the Emotion SystemFilms evoke broad moods and cue particular emotions that can be broadly shared as well as individually experienced. Although the experience of emotion is central to the viewing of movies, film studies have neglected to focus attention on the emotions, relying instead on vague psychoanalytic concepts of desire. Film Structure and the Emotion System synthesizes research on emotion in cognitive psychology and neurology in an effort to provide a more nuanced understanding of how film evokes emotion. Analysing a variety and range of films, including Casablanca and Stranger than Paradise, this book offers a grounded approach to the mechanisms through which films appeal to the human emotions, demonstrating the role of style and narration in this process. |
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action approach to filmic argue associated audience basic behavior camera Casablanca central character’s characters cinema classical cognitive cognitive psychology cognitivism comic concept conscious create critics cuing David Bordwell densely informative dialogue diegesis diegetic discuss Eisenstein elicit emotional emotion cues emotion markers emotion prototypes emotion system emotional experience emotional orientation emotional responses emotionally emphasizes encourages evoke explain facial feeling Film Structure film's film’s emotional appeal filmic emotions filmmaker flashback flophouse foregrounded Freud Freudian function genre microscripts goal Grodal Hollywood horror Ilsa initial intertitle Joy Luck Club label Laura Mulvey Laurel Lower Depths melodrama Metz mood mood-cue approach mother movie Mulvey narration narrative Noël Carroll nonprototypical Paul Ekman Pepel pleasure primary processes protagonist psychoanalytic film theory psychology quota of affect Raiders rely Renoir Rick Rick's scene sequence shift signal social specific Stella Dallas story Stranger than Paradise theorists theory of emotion tion University Press viewer