Cinematic narration and its psychological impact: functions of cognition, emotion and play
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publ.
2009
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. 311 - 341 |
| Beschreibung: | XVI, 357 S. Ill. 22 cm |
| ISBN: | 9781443805278 1443805270 |
Internformat
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| 245 | 1 | 0 | |a Cinematic narration and its psychological impact |b functions of cognition, emotion and play |c by Peter Wuss |
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Datensatz im Suchindex
| _version_ | 1804142911253643264 |
|---|---|
| adam_text | CINEMATIC NARRATION AND ITS PSYCHOLOGICAL IMPACT: FUNCTIONS OF
COGNITION, EMOTION AND PLAY BY PETER WUSS CAMBRIDGE SCHOLARS P U B L I S
H I N G CONTENTS PREFACE XIII INTRODUCTION 1 1. WHY WE GO TO THE MOVIES
2. SOME ELEMENTARY IDEAS ON MODELLING THE AESTHETIC EXPERIENCE 2.1. ART
AS A DEVICE FOR MENTAL STIMULATION: NARRATION AS STIMULUS 2.2. ARTWORK
AS PROPOSAL FOR RECEPTION : NARRATION AS STRUCTURED RECEPTION PROPOSAL
2.3. RECEPTION OF ART AS A PROCESS OF LEARNING AND COGNITION: NARRATION
AS GENERATING COGNITIVE STRUCTURES 3. SOME INTENTIONS OF THIS BOOK
CHAPTER I: THE PCS MODEL OF FILMIC STRUCTURES 19 1. DIFFERENT PHASES OF
COGNITION 2. A COGNITIVE MODEL FOR DESCRIPTION OF CINEMATIC STRUCTURES
2.1. FROM CONCEPTION-BASED FILMIC STRUCTURES TO THE CAUSAL CHAIN OF
NARRATION 2.2. FROM PERCEPTION-BASED FILMIC STRUCTURES TO TOPIC LINES
2.3. FROM STEREOTYPE-BASED FILMIC STRUCTURES TO STEREOTYPES OF NARRATION
3. DESCRIPTION OF OPENING SEQUENCES OF OTHER FILM EXAMPLES 4.
DEFINITIONS OF THREE FILMIC STRUCTURES: THE PCS MODEL 4.1.
PERCEPTION-BASED FILMIC STRUCTURES 4.2. CONCEPTION-BASED FILMIC
STRUCTURES VI CONTENTS 4.3. STEREOTYPE-BASED FILMIC STRUCTURES 4.4.
DETAILS CONCERNING THE PSYCHOLOGICAL BACKGROUND OF THE MODEL 5. ON THE
APPLICATION AND PSYCHOLOGICAL DIFFERENTIATION OF THE PCS MODEL 6.
OPENING SEQUENCES AND PRIMING CHAPTER II: CINEMATIC NARRATION AND ITS
BASIC STRUCTURES 51 1. THE RICHNESS OF FORMS OF NARRATIVE AS A CHALLENGE
FOR ANALYSIS 2. WHAT IS NARRATIVE? 3. VERBAL SYNOPSES AS A DESCRIPTIVE
MODEL OF NARRATIVES 4. CONSTRUCTING VERBAL SYNOPSES AS A PROBLEM OF
EVALUATING STIMULI 5. THREE BASIC STRUCTURES OF FILM NARRATION AND THEIR
FUNCTIONS 5.1. MODELS OF FILM STRUCTURE AND FORMS OF NARRATION 5.2.
BASIC NARRATIVE STRUCTURES IN FILM 5.2.1. CAUSAL CHAINS AND CLOSED
NARRATION EXAMPLES OF FILMS WITH DOMINANT CAUSAL CHAINS CHARACTERISTICS
OF THE BASIC NARRATIVE STRUCTURE OF CAUSAL CHAIN 5.2.2. TOPIC LINES AND
THE OPEN FORM OF NARRATION EXAMPLES OF FILMS WITH DOMINANT TOPIC LINES
CHARACTERISTICS OF THE BASIC NARRATIVE STRUCTURE OF TOPIC LINE CINEMATIC
NARRATION AND ITS PSYCHOLOGICAL IMPACT VII 5.2.3. NARRATIVE STEREOTYPES
AND GENRE STORYTELLING EXAMPLES OF FILMS WITH DOMINANT NARRATIVE
STEREOTYPES CHARACTERISTICS OF BASIC STRUCTURES OF NARRATIVE STEREOTYPES
6. TOWARD THE APPLICATION OF THE MODEL OF NARRATION 6.1. GENERALIZATION
OF THE ANALYTIC APPROACH BY MEANS OF COMBINED DESCRIPTIONS 6.2.
COMBINATION AND INTERACTION OF DIFFERENT BASIC STRUCTURES 6.3.
APPLICATION OF THE MODEL TO CHANGES IN THE CINEMA CHAPTER III: CONFLICT
AND PROBLEM-SOLVING 99 1. THE NOTION OF CONFLICT AND ITS PHILOSOPHICAL
BACKGROUND 2. CONFLICT SITUATIONS IN HIGH NOON 3. KINDS OF COLLISIONS
AND CONFLICTS 3.1. VARYING CONFLICT TYPES: INTER-PERSONAL VS.
INTRA-PERSONAL CONFLICTS 3.2. VARYING WAYS OF DECISION : CROSSROAD VS.
PRESENTED BILL 3.3. VARYING IMPORTANCE: RELEVANCE VS. IRRELEVANCE 3.4.
VARYING ABILITY FOR SOLUTION: SOLVABLE VS. UNSOLVABLE 4. CONFLICT ON THE
SCREEN AND PROBLEM-SOLVING IN THE AUDIENCE 5. IDENTIFYING AND DEFINING
CONFLICT MOMENTS BY TOPIC LINES 6. THE MORE CONSCIOUS STEPS OF
PROBLEM-SOLVING AND THEIR STRUCTURES OF NARRATION 7. PROBLEM-SOLVING AND
THE MEANING OF THE CHARACTERS ACTION POTENTIAL VIII CONTENTS CHAPTER
IV: CONFLICT AND EMOTION 125 1. FROM PEALS OF LAUGHTER ABOUT CHAPLIN TO
EMPIRICAL RESEARCH ON EMOTION 2. THE CONCEPT OF EMOTION IN PSYCHOLOGY 3.
THE CONFLICT APPROACH TO THE PSYCHOLOGICAL THEORY OF EMOTIONS 4.
FILM-ELICITED EMOTIONS AS WITNESS EMOTIONS 5. CONFLICT FACTORS IN FILM
NARRATION 6. PROBLEM-SOLVING AND THE EXPERIENCE OF CONFLICTS 7. EMPATHY
8. APPRAISAL AND GENRE 9. FILM-ELICITED EMOTIONS AS PROCESS 10. STRENGTH
AND INTENSITY OF FILM-ELICITED EMOTIONS 11. QUALITIES AND BASIC
TENDENCIES OF EMOTIONS 12.CHALLENGE FOR RESEARCH ON EFFECTS CHAPTER V:
STRATEGIES OF NARRATIVE TENSION AND SUSPENSE 159 1. INTRODUCTION 2.
TENSION AND SUSPENSE: ASPECTS OF DEFINITION 3. HYPOTHESES ON NARRATIVE
TENSION FROM A PSYCHOLOGICAL VIEWPOINT 3.1. THE SYSTEM OF MOTIVATION AND
TENSION 3.2. THE SYSTEM OF COGNITION AND TENSION 3.3. INTERRELATIONS
AMONG EMOTION, EMPATHY AND NARRATIVE TENSION 3.4. IMAGINATION AND
NARRATIVE TENSION 3.5. TENSION AND PLAY 3.6. TYPOLOGY OF NARRATIVE
TENSION 4. DRAMATIC TENSION 5. CONVENTIONALISED TENSION AND SUSPENSE
CINEMATIC NARRATION AND ITS PSYCHOLOGICAL IMPACT IX 6. LATENT TENSION 7.
THE COMBINATION OF DIFFERENT MODES OF TENSION CHAPTER VI: THE REALITY
EFFECT IN FICTION FILMS 185 1. INTRODUCTION 2. SOME CHARACTERISTICS OF
FICTION FILMS WITH A REALITY EFFECT 3. PRECONDITIONS FOR THE OCCURRENCE
OF THE REALITY EFFECT 3.1. COGNITIVE CONDITIONS 3.2. NARRATIONAL
CONDITIONS 3.3. CULTURAL CONDITIONS 4. RELATIONSHIPS OF THE REALITY
EFFECT TO PLAY, POSSIBLE WORLDS AND GENRES 5. CAMERA WORK AND ORIENTING
REACTIONS CHAPTER VII: IMAGINATION AND THE FORMATION OF DREAM-LIKE
SEQUENCES IN THE CINEMA 209 1. IMAGINATION AND THE CINEMA: IMAGERIES AND
IMAGININGS ON THE SCREEN AND IN THE VIEWER S EXPERIENCE 2. FELLINI S
#AS AN OPEN WORK 3. TOPICS IN 814 4. DREAMS AS SPECIFIC STEREOTYPES
OR ARCHETYPES CHAPTER VIII: PLAY BEHAVIOUR ON THE SCREEN AND IN THE
VIEWER S MIND 225 1. STARTING POINT: PLAY BEHAVIOUR IN A FILM SEQUENCE
2. HYPOTHESES ON THE ROLE OF PLAY IN HUMAN LIFE 2.1. AS-IF BEHAVIOUR
2.2. ADAPTIVE CAPABILITY 2.3. CHANGE OF EMOTIONS 2.4. FUNCTIONAL
PLEASURE X CONTENTS 2.5. GENERATIONS OF VARIABLES 2.6. REGULARITIES 2.7.
POSSIBLE WORLDS 3. PLAY IN THE REGULATORY PROCESS OF ART 4. HYPOTHESES
REGARDING PLAY BEHAVIOUR IN THE PROCESS OF EXPERIENCING A FILM 4.1.
AS-IF BEHAVIOUR AND AESTHETIC REACTION 4.2. DEALING WITH CONFLICTS
4.3. EMOTIVE FUNCTIONS 4.3.1. NARRATION 4.3.2. EMPATHY 4.3.3. GENRE 4.4.
FUNCTIONAL PLEASURE AND HEDONISTIC FUNCTION 4.5. INNOVATIVE FUNCTION
4.6. RULES OF THE ARTISTIC FORM 4.7. PLAY-EFFECT AND GENRE 5. FILM
SEQUENCES AND STORIES BASED ON PLAY BEHAVIOUR CHAPTER IX: NARRATION AND
GENRE 247 1. FILM GENRE AS AESTHETIC EXPERIENCE AND CULTURAL INSTANCE 2.
THEORETICAL PROBLEMS IN DEALING WITH FILM GENRES 3. THE REGULATORY
FUNCTION OF GENRES 4. MODELLING THE WAYS CLASSICAL GENRES ACHIEVE
EFFECTS 4.1. ESTRANGEMENT AND COMEDY 4.2. PATHOS AND DRAMA 4.3.
CATHARSIS AND TRAGEDY 5. APPLICATIONS OF THE MODEL 5.1. SUMMARIZED
HYPOTHESES ON CLASSICAL GENRES 5.2. APPLICATIONS IN REGARD TO WEAK GENRE
TENDENCIES CINEMATIC NARRATION AND ITS PSYCHOLOGICAL IMPACT XI 5.3. THE
APPLICATION OF COMBINED MODELS TO HYBRID GENRES CONCLUSIONS 307
BIBLIOGRAPHY 311 ACKNOWLEDGEMENTS 343 PERMISSIONS 335 KEYWORD INDEX 347
FILM TITLE INDEX 351 PERSON INDEX 353
|
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| author | Wuss, Peter 1940- |
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| author_role | aut |
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| dewey-full | 791.43013 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43013 |
| dewey-search | 791.43013 |
| dewey-sort | 3791.43013 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| edition | 1. publ. |
| format | Book |
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| id | DE-604.BV036432841 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:39:17Z |
| institution | BVB |
| isbn | 9781443805278 1443805270 |
| language | English |
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| oclc_num | 839929632 |
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| owner | DE-B170 DE-Po75 |
| owner_facet | DE-B170 DE-Po75 |
| physical | XVI, 357 S. Ill. 22 cm |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Cambridge Scholars Publ. |
| record_format | marc |
| spelling | Wuss, Peter 1940- Verfasser (DE-588)119411113 aut Cinematic narration and its psychological impact functions of cognition, emotion and play by Peter Wuss 1. publ. Newcastle upon Tyne Cambridge Scholars Publ. 2009 XVI, 357 S. Ill. 22 cm txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 311 - 341 Film (DE-588)4017102-4 gnd rswk-swf Narrativität (DE-588)4379691-6 gnd rswk-swf Filmanalyse (DE-588)4140882-2 gnd rswk-swf Film (DE-588)4017102-4 s Narrativität (DE-588)4379691-6 s Filmanalyse (DE-588)4140882-2 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020305372&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wuss, Peter 1940- Cinematic narration and its psychological impact functions of cognition, emotion and play Film (DE-588)4017102-4 gnd Narrativität (DE-588)4379691-6 gnd Filmanalyse (DE-588)4140882-2 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4379691-6 (DE-588)4140882-2 |
| title | Cinematic narration and its psychological impact functions of cognition, emotion and play |
| title_auth | Cinematic narration and its psychological impact functions of cognition, emotion and play |
| title_exact_search | Cinematic narration and its psychological impact functions of cognition, emotion and play |
| title_full | Cinematic narration and its psychological impact functions of cognition, emotion and play by Peter Wuss |
| title_fullStr | Cinematic narration and its psychological impact functions of cognition, emotion and play by Peter Wuss |
| title_full_unstemmed | Cinematic narration and its psychological impact functions of cognition, emotion and play by Peter Wuss |
| title_short | Cinematic narration and its psychological impact |
| title_sort | cinematic narration and its psychological impact functions of cognition emotion and play |
| title_sub | functions of cognition, emotion and play |
| topic | Film (DE-588)4017102-4 gnd Narrativität (DE-588)4379691-6 gnd Filmanalyse (DE-588)4140882-2 gnd |
| topic_facet | Film Narrativität Filmanalyse |
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