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.
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.
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
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
reflects on the role of the art world in political and social debates. This discussion raises several questions about the place of the arts in societal events: should artists get involved in contentious issues or rather take a back-seat position and stage the dissemination of ideas? Editors: We are very interested to talk to you about the way the museums are going beyond educational programmes, and now work towards developing empathy. Could you tell us more about Documenta 14 , which in 2017 happened both at its traditional location and in Athens to raise awareness
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
error, my students had read the posthuman as human, and had thus attributed to the novel an unwarranted degree of empathy by invoking categorically inappropriate ethical systems. Richard F. Storrow also takes what might be considered a humanist approach to the posthuman text and narrator, passionately claiming that ‘Embracing Kathy's story forces us to conclude that human clones are every bit as human as the rest of us if only because their lives are likewise defined by love and loss and hope’ ( 2009 : 270). Exploiting the nurturing word ‘embracing
Are the narrators of Kazuo Ishiguro's first two novels set in Japan innocents recovering from a tormented life or murderous villains covertly shielding their deceits? Etsuko from A Pale View of Hills and Ono from An Artist of the Floating World have sparked both empathy and antipathy in unequal measure when reflected in psychological, cinematic or feminist readings of their characterisation. Interpretations vary on charges of unreliable narration stemming from emotional instability, on Ishiguro's reworking of Japanese cultural stereotypes
capable of bringing out emotion or empathy or that establishes the sort of connection that you get by looking someone in the eye. There is a very wide gap between those two kinds of photography and what they elicit in human viewers. SB: There are a number of photographs in Blue Sky Days where the human bodies cast large shadows. A good example is Signature Behavior (2013), a photo taken in a public square with people passing through. Their physical bodies are mere schematic dots that are barely discernible as bodies, but their virtual bodies loom large in the form
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.