Search results

Jennifer Lyon Bell

Filmmaker Jennifer Lyon Bell (Blue Artichoke Films) has made empathy the centre of her practice as an alternative porn filmmaker. This blend of artist manifesto and academic essay illuminates the three ways in which empathy is a driving force at every level of her artistic efforts. 1) Structure: Using a foundation of cognitive film theory and specifically the work of Murray Smith, she builds empathy into the structure and content of her films themselves. 2) Production: She prioritises empathy in her production process on the set with cast and crew 3) Society: By creating and spreading empathetic pornography, she aims to introduce more empathy into society at large.

Film Studies
Association, Simulation, or Appraisal?
Daniel Barratt

This paper attempts to trace the psychological routes to empathy by assessing the relative merits of three alternatives. Traditionally, empathy has been explained in terms of two psychological processes: association and simulation. After concurring that associative connections play a significant role in generating empathy, the paper focuses on the imaginative activity of simulation, arguing that many of our empathetic responses to film characters can be spelt out in the alternative terms of emotion related appraisal. In order to demonstrate this point, the paper analyses an example of empathy from Hitchcock‘s Psycho (1960), concluding that the term ‘simulation’ should be reserved for those instances in which we deliberately attempt to imaginatively entertain a characters thoughts and feelings.

Film Studies
Keeping the crusades up to date
Christopher Tyerman

4 Empathy and materialism: keeping the crusades up to date During a course of lectures delivered in Munich in 1855, Heinrich von Sybel (1817–95) reflected on writers on the crusades. He had made his name a decade and a half earlier demolishing the reputation of William of Tyre and Albert of Aachen as reliable sources for the First Crusade and now suggested that ‘every new commentator must find fresh subject for interest and instruction according to his own requirements and inclinations’.1 The legacy of the Enlightenment had established the crusades as a

in The Debate on the Crusades
James McDermott

7 Rank, deference and empathy Extant biographies of Northamptonshire tribunalists (as given in Chapter 1) reveal an overwhelming prevalence of men of substance and standing in their communities. At the county level, the Appeals Tribunal hosted a representative selection of some of Northamptonshire’s most distinguished public servants and gentry, with a leavening of genuinely aristocratic blood. Clearly, theirs was not a homogeneous group; tribunalists came from widely different backgrounds and enjoyed markedly dissimilar expectations of themselves and their

in British Military Service Tribunals, 1916–1918
Lesley Pruitt and Erica Rose Jeffrey

The whole concept is kind of for the empathy. It's like movement-based learning … I can identify my emotions better when they're expressed through movement than when they're just cold to me. ‘Claire’, M4P founder, United States Imagine a crowded university classroom in Mindanao, on the edge of the active conflict region in the Philippines. The room is

in Dancing through the dissonance
and the Triumph of Scottish Schadenfreude
Chris Murray

This article examines Denise Mina‘s treatment of Scottish identity and the gothic tradition in her run on Hellblazer, an American horror comic about an English occultist, John Constantine. Mina takes Constantine to Glasgow to confront the deadly “empathy plague” which forces victims to emphasise with others. Mina argues that the Scots revel in the misery of others, making them easy victims for this malady. However, this failing becomes a means for victory, as everyone is united in an outpouring of shameful joy at the story‘s conclusion. Mina‘s Scotland is a home away from home for Constantine – haunted, embittered and lost – and her image of Scotland mirrors representations seen in other Scottish Gothic texts.

Gothic Studies
Emotional Contagion Responses to Narrative Fiction Film
Amy Coplan

In this paper, I examine the role of emotional contagion in our affective engagement with narrative fiction film, focusing in particular on how spectator responses based on emotional contagion differ from those based on more sophisticated emotional processes. I begin by explaining emotional contagion and the processes involved in it. Next, I consider how film elicits emotional contagion. I then argue that emotional contagion responses are unique and should be clearly distinguished from responses based on other emotional processes, such as empathy. Finally, I explain why contagion responses are a significant feature of spectators engagement with narrative fiction film.

Film Studies
Creative movement and peacebuilding

This book explores the relationship between peacebuilding and dance, including insights dance provides on key debates around peace and conflict. It investigates the practice of a dance-focused peacebuilding programme and tells the important story of youth who engage in dance for peacebuilding in Colombia, the Philippines and the United States. In doing so, the book analyses the ways in which this programme fits into the broader global context. Incorporating participant voices, critical political analysis and reflections on dance practice, this book reveals important implications and nuances regarding arts-based peace initiatives that can also contribute to reflections on peacebuilding more broadly. In particular, investigating the role of empathy and embodiment further contributes to expanding perspectives on peacebuilding. As such, this book contributes to theory and practice while building critical understanding of the politics of integrating dance into peacebuilding. By exploring the politics of dancing peace, including benefits and challenges, and local and global connections, this book highlights and analyses key issues in arts-based peacebuilding approaches. As the global community continues to seek pathways to peace that are inclusive of people across differences – such as race, religion, gender, culture, age and locality – and that improve upon, supplement or replace existing dominant approaches, this book provides a valuable in-depth analysis and recommendations for practice.

This book investigates the ways in which the crusades have been observed by historians from the 1090s to the present day. Especial emphasis is placed on the academic after-life of the crusades from the sixteenth to twenty-first centuries. The use of the crusade and its history, by humanists and other contemporary writers, occupied a world of polemic, serving parochial religious, cultural and political functions. Since the Renaissance humanists and Reformation controversialists, one attraction of the crusades had lain in their scope: recruited from all western nations, motivated by apparently transcendent belief systems and fought across three continents. From the perspective of western Europe's engagement with the rest of the globe from the sixteenth century, the crusades provided the only post-classical example to hand of an ideological and military world war. Remarkably, the patterns of analysis of the late eighteenth and early nineteenth century have scarcely gone away: empathy; disapproval; relevance; the role of religion; materialist reductionism. Despite the explosion of literary attention, behind the empathetic romanticism of Michaud or the criticism of Mills and Scott, the themes identified by Thomas Fuller, Claude Fleury, David Hume, Edward Gibbon and William Robertson persisted. The idea of the crusades as explicit precursors to modern events, either as features of teleological historical progress or as parallels to modern actions remains potent. The combination of ideology, action, change, European conquest and religious fanaticism acted as a contrast or a comparison with the tone of revolutionary and reactionary politics.

Open Access (free)
Governing Precarity through Adaptive Design
Mark Duffield

accept and work with the world as is – rather than how it ought to be . In celebrating the positive demand for empathy, humility and resilience, adaptive design supplants the call for systemic change. This conservatism is an example of how a progressive neoliberalism ( Fraser, 2017 ) is dissolving and sapping the powers of resistance ( Han, 2010 ). The excessive positivity of adaptive design, its endless willingness to happily fail-forward into the future, suits the economic logic of late-capitalism. 2 To draw this out, it is necessary to

Journal of Humanitarian Affairs