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A General Model of Visual Aesthetics
Torben Grodal

This article argues that the central dimensions of film aesthetics may be explained by a general theory of viewer psychology, the PECMA flow model. The PECMA flow model explains how the film experience is shaped by the brain‘s architecture and the operation of different cognitive systems; the model describes how the experience is based on a mental flow from perception, through emotional activation and cognitive processing, to motor action. The article uses the flow model to account for a variety of aesthetic phenomena, including the reality-status of films, the difference between narrative and lyrical-associative film forms, and the notion of ‘excess’.

Film Studies
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Andrew Dix

Memory ( 2002 ), a text mentioned several times already in this book, comes closer to fulfilling Jenkins’s programme. Like Jancovich et al., Kuhn is indebted to work in cultural geography and demonstrates heightened sensitivity to film reception sites (in particular here, the picture palaces and neighbourhood fleapits of prewar Britain). However, extra-textual interest of this sort is subtly interwoven with detailed attention to the texts being consumed. Kuhn traces, for example, the effects of musicals starring Fred Astaire and Ginger Rogers upon spectators

in Beginning film studies (second edition)
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Surveying Scottish cinema, 1979 –present
Christopher Meir

international film cultures to see how exactly the nation is being perceived through these films. To these ends, I am also concerned with box office statistics, promotional campaigns and reviews and commentaries found in newspapers and other publications. In drawing on such materials, I use something akin to the ‘historical materialist’ approach to film reception influentially deployed by Janet Staiger (1992). By combining such a study of reception with textual analysis and production research, I hope to carry out the kind of national cinema study described by Tom O’Regan in

in Scottish cinema
Gothic aesthetics and feminine identification in the filmic adaptations of Clive Barker
Brigid Cherry

a lot of the general public as well, but Nightbreed seems to be more of a cultish thing. Too bad as it is one of my favorite [sic] movies.’ The ‘too bad’ here seems to suggest that cult status is not something she entirely welcomes, positioning herself closer to mainstream horror film reception and further away from a ‘hardcore’ masculine fandom. This, however, should

in Clive Barker
Representations, address and assumptions about influence
Elisabet Björklund

. 29 Film distributors thus strove to make the films legitimate, while at the same time working to attract a large audience. Theory of film reception emphasizes that meaning is not something that is inherent in a film, but that the meaning of a film can be different for different audiences, depending on, for example, the historical and social context of reception. 30 Sex

in Communicating the history of medicine
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Sound and music
Andrew Dix

film consumption. An exemplary contribution here is made by Annette Kuhn in An Everyday Magic: Cinema and Cultural Memory ( 2002 ), which recalls the tumultuous soundscapes of prewar matinées in Britain when, in addition to noises emanating from the screen, the watching children would crack open peanuts or stamp clog-covered feet on bare wooden floors. Besides movingly retrieving the detail of ordinary lives often ignored by scholarship, Kuhn’s account also remodels film reception so that it is understood less as passive textual absorption and more as an

in Beginning film studies (second edition)
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Melodramatizing the Hungarian Holocaust
R. Barton Palmer

step of releasing a public statement of ‘correction’, arguing that there was no publicly confirmed evidence of CIA involvement in the coup. In effect, the film's version of the coup, based on an eyewitness account and considerable research, was labeled as fiction. 23 Such charges did nothing to harm the film's reception; Missing won the Palme d’Or, while being nominated for the Academy Award Best Picture and in several other categories. Costa-Gavras soon learned, however, that there was a price to pay if he went beyond what audiences will tolerate in films

in The films of Costa-Gavras
Barry Jordan

such, authorship emerges in the activities of film reception and consumption, in the traces left in journalistic, publicity and Web materials, promotional interviews, magazine photo shoots, festivals, award ceremonies and personal appearances, wherever the auteur figure functions as power broker, media star and celebrity marketeer. In short, signs of authorship arise in those areas which Genette calls ‘paratexts’, i.e. all

in Alejandro Amenábar
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The British Brando?
Andrew Roberts

Bergman’s struggles with the soul’ ( 1985 : 1010), and so if Eva needs to control, Tyvian craves abasement. He positions himself as one of macho puritan virtue in a decadent city where film receptions are stages in an atmosphere of Baroque grandeur – even the photograph on the novel’s dust jacket is a portrait of the poseur as an angry young man. It is to Eva, not his wife, that Jones confesses his deception in a vain attempt to be absolved of responsibility. At the film’s epicentre is Baker’s deconstruction of masculinity in a performance that deserves to be ranked

in Idols of the Odeons
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Diana Holmes and Robert Ingram

was the first film he had made which was ‘délibérément emmerdant’ (‘difficult to sit through’) but nevertheless felt it would do better than Tirez at the box office if not as well as Les400 Coups (Truffaut 1988 : 195). He was, then, sensitive to his filmsreception but clearly did not allow this alone to determine either his subject or his treatment of it. At this stage of his career, he was prepared to take risks and

in François Truffaut