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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
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Ian Aitken

studies, and the field of history from the late 1970s onwards has been hugely productive, in terms of the number and quality of historically based works which have materialised. Another, recent, attempt to connect film studies to other disciplines involves the taking up of Anglo-American analytical philosophy. Here, prospects also appear excellent, with scholars such as Richard Allen, Murray Smith, Noël Carroll, Allan Casebier

in Realist film theory and cinema
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Categories and conversations
James Zborowski

Conclusion: categories and conversations It is unusual for an account whose principal concern is point of view to conclude without having proposed its own taxonomy via which point of view might be approached. Rather than reiterating in summary form the arguments of this book, I will use this conclusion instead as an opportunity to reflect upon and defend aspects of the method I have adopted. To explain why this book has abstained from proposing a set of categories to take to a film will be a useful way of framing this reflection. Murray Smith, as part of his

in Classical Hollywood cinema
Alfred Hitchcock and Anthony Asquith
Tom Ryall

, a shower hose spraying water, and a scent bottle spilling onto the floor. These shots, to use Murray Smith’s term, are ‘metonymic images’, which take the place of literal images of the attack and its aftermath. 38 Endnote The case for a British art cinema of the 1920s is supported by the formal qualities notable in many of the films of Hitchcock and Asquith which responded to the experimental currents evident in the influential European cinemas of the time. Yet, such qualities were often blended with the styles

in British art cinema
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

conclusion is reached by Murray Smith in his reading of The Young Ones , which, he argues, is characterised by a double inversion: first in its representation of that which is typically marginalised in the sitcom and then in the representation of what is ‘outside’ the initial representation (normal, middle-class family life) as being just as grotesque as that ‘inside’. 49

in Alan Moore and the Gothic Tradition
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Tom Ryall

Soviet-style symbolic montage metaphorically depicting Joe’s breaking point. Joe threatens Harry, an intertitle reads: ‘You’ve tortured me long enough – now it’s my turn’, then the attack takes place. Although there is one full shot of Harry staggering after the attack, the episode is largely presented in a flurry of brief images – close shots of the other characters’ responses, a shower hose spraying water, a scent bottle spilling onto the floor, ‘metonymic images’, to use Murray Smith’s term, in place of actual images of the attack and its aftermath.43 The film bears

in Anthony Asquith
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Surveying Scottish cinema, 1979 –present
Christopher Meir

historicization. Such an impulse has been present in the current wave of Scottish cinema historiography, including work by Martin-Jones and Murray, as well as extended studies of Trainspotting and Ratcatcher by Murray Smith (2002) and Annette Kuhn (2008) respectively. This shift in methodology from constructing overarching narratives of Scottish cinema to detailed study of individual films is in some senses a sign of the maturity of the field. Now that the larger generalizations have been made – generalizations that were necessary Introduction 3 to establish that the object

in Scottish cinema
James Zborowski

these things. That this commits me to what might be termed a ‘realist’ view of film and our experience of it is a fact that I not only concede but embrace. When one’s primary focus is fictional characters, as mine is here, it seems that such a stance is near unavoidable. As Murray Smith notes, with characteristic acuity: to admit a notion of character at all is to acknowledge an element of narrative texts which is analogous to the human agent, and it is thus in the positing of a notion of character that a mimetic relationship is assumed to obtain between fictional

in Classical Hollywood cinema
Transcultural encounters in early modern Italian theatre
Eric Nicholson

pensa e che ragiona forse più delle altre’ (Goldoni 2000 : 79; a nation that thinks and uses reason, perhaps more than other ones). Along with the other English residente in Venice, John Murray, Smith helped Goldoni read and appreciate Shakespeare’s plays, inspiring him to imitate and employ the play-within-the-play device for his Malcontenti and its scene of ‘Cromuel protettore

in Transnational connections in early modern theatre
Jack Clayton’s Room at the Top
B. F. Taylor

Wilson, ‘On Film Narrative and Narrative Meaning’, in Richard Allen and Murray Smith, ed., Film Theory and Philosophy, Oxford, Oxford University Press, 1997, pp. 221–238, p. 232). Further, as David Bordwell continues in his discussion of film interpretation: ‘Neither causal nor functional explanation is the aim of film interpretation. Indeed, in a certain sense, knowledge of the text is not the most salient effect of the interpretative enterprise. It may be that interpretation’s greatest achievement is its ability to encourage, albeit somewhat indirectly, reflections

in The British New Wave