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Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasu

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Specificaties

Objectstaat: Nieuw: Een nieuw, ongelezen en ongebruikt boek in perfecte staat waarin geen bladzijden ontbreken of ...

ISBN-13: 9780415871396

Book Title: Cinematic Emotion in Horror Films and Thrillers

ISBN: 9780415871396

Publication Name: Cinematic Emotion in Horror Films and Thrillers : the Aesthetic Paradox of Pleasurable Fear

Item Length: 9.1in

Publisher: Routledge

Publication Year: 2010

Series: Routledge Advances in Film Studies

Type: Textbook

Format: Hardcover

Language: English

Item Height: 0.8in

Author: Julian Hanich

Item Width: 6.3in

Item Weight: 19.2 Oz

Number of Pages: 302 Pages

Over dit product

Product Information

Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanich's path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewer's frightened experience. By drawing on prototypical scenes from horror films and thrillers like Rosemary's Baby, The Silence of the Lambs, Seven and The Blair Witch Project , Hanich identifies five types of fear at the movies and thus provides a much more nuanced classification than previously at hand in film studies. His descriptions of how the five types of fear differ according to their bodily, temporal and social experience inside the auditorium entail a forceful plea for relying more strongly on phenomenology in the study of cinematic emotions.

Product Identifiers

Publisher

Routledge

ISBN-10

0415871395

ISBN-13

9780415871396

eBay Product ID (ePID)

73856157

Product Key Features

Author

Julian Hanich

Publication Name

Cinematic Emotion in Horror Films and Thrillers : the Aesthetic Paradox of Pleasurable Fear

Format

Hardcover

Language

English

Publication Year

2010

Series

Routledge Advances in Film Studies

Type

Textbook

Number of Pages

302 Pages

Dimensions

Item Length

9.1in

Item Height

0.8in

Item Width

6.3in

Item Weight

19.2 Oz

Additional Product Features

Series Volume Number

Lc Classification Number

Pn1995.9.H6h355 2010

Reviews

"There are several elements of this book that are appealing. First, it is clearly and engagingly written [...]. Second, the author is eclectic in his resources, drawing from scholarship in both German and English, from phenomenology, cognitive film theory, and cultural studies. [...It] is a substantial achievement." --Carl Plantinga, author of Moving Viewers: American Film and the Spectator's Experience "...[an] impressive account of genre, aesthetics, and audience affect..." "...[a] compelling and wonderfully readable volume [that] make[s] an important addition to scholarship that bridges film and philosophy" "The difference between Hanich'e(tm)s work and much scholarship on film and embodiment is his superior ability to contextualize and qualify his claims, thoughtfully developing their implications..." --Jane Stadler, author of Pulling Focus: Intersubjective Experience, Narrative Film and Ethics "...Hanich indeed manages to take a fresh, perceptive look at Cinematic Emotion in Horror Films and Thrillers." --Rolf Löchel in Literaturkritik.de "A contribution absolutely worth reading [...]. The argument is well-founded and developed in a highly readable fashion throughout the book. It raises many interesting questions. Hence this study could soon become a standard reference for the study of horror films and thrillers."--Rayd Khouloki, Sehepunkte.de and author of Der filmische Raum: Konstruktion, Wahrnehmung, Bedeutung, "There are several elements of this book that are appealing. First, it is clearly and engagingly written [...]. Second, the author is eclectic in his resources, drawing from scholarship in both German and English, from phenomenology, cognitive film theory, and cultural studies. [...It] is a substantial achievement." --Carl Plantinga, author of Moving Viewers: American Film and the Spectator's Experience "...[an] impressive account of genre, aesthetics, and audience affect..." "...[a] compelling and wonderfully readable volume [that] make[s] an important addition to scholarship that bridges film and philosophy" "The difference between Hanich "s work and much scholarship on film and embodiment is his superior ability to contextualize and qualify his claims, thoughtfully developing their implications..." --Jane Stadler, author of Pulling Focus: Intersubjective Experience, Narrative Film and Ethics "...Hanich indeed manages to take a fresh, perceptive look at Cinematic Emotion in Horror Films and Thrillers." --Rolf L chelin Literaturkritik.de, "There are several elements of this book that are appealing. First, it is clearly and engagingly written [...]. Second, the author is eclectic in his resources, drawing from scholarship in both German and English, from phenomenology, cognitive film theory, and cultural studies. [...It] is a substantial achievement." --Carl Plantinga, author ofMoving Viewers: American Film and the Spectator's Experience "...[an] impressive account of genre, aesthetics, and audience affect..." "...[a] compelling and wonderfully readable volume [that] make[s] an important addition to scholarship that bridges film and philosophy" "The difference between Hanich's work and much scholarship on film and embodiment is his superior ability to contextualize and qualify his claims, thoughtfully developing their implications..." --Jane Stadler, author ofPulling Focus: Intersubjective Experience, Narrative Film and Ethics "...Hanich indeed manages to take a fresh, perceptive look at Cinematic Emotion in Horror Films and Thrillers." --Rolf Löchel inLiteraturkritik.de "A contribution absolutely worth reading [...]. The argument is well-founded and developed in a highly readable fashion throughout the book. It raises many interesting questions. Hence this study could soon become a standard reference for the study of horror films and thrillers."--Rayd Khouloki,Sehepunkte.de and author ofDer filmische Raum: Konstruktion, Wahrnehmung, Bedeutung, "There are several elements of this book that are appealing. First, it is clearly and engagingly written [...]. Second, the author is eclectic in his resources, drawing from scholarship in both German and English, from phenomenology, cognitive film theory, and cultural studies. [...It] is a substantial achievement." --Carl Plantinga, author of Moving Viewers: American Film and the Spectator's Experience "...[an] impressive account of genre, aesthetics, and audience affect..." "...[a] compelling and wonderfully readable volume [that] make[s] an important addition to scholarship that bridges film and philosophy" "The difference between Hanich's work and much scholarship on film and embodiment is his superior ability to contextualize and qualify his claims, thoughtfully developing their implications..." --Jane Stadler, author of Pulling Focus: Intersubjective Experience, Narrative Film and Ethics "...Hanich indeed manages to take a fresh, perceptive look at Cinematic Emotion in Horror Films and Thrillers." --Rolf Löchel in Literaturkritik.de "A contribution absolutely worth reading [...]. The argument is well-founded and developed in a highly readable fashion throughout the book. It raises many interesting questions. Hence this study could soon become a standard reference for the study of horror films and thrillers."--Rayd Khouloki, Sehepunkte.de and author of Der filmische Raum: Konstruktion, Wahrnehmung, Bedeutung

Table of Content

List of Figures Acknowledgments Part I Introduction Chapter One: How to Describe Cinematic Fear, or Why Phenomenology? Chapter Two: Multiplexperiences: Individualized Immersion and Collective Feelings Part II Chapter Three: Frightening Fascination: A Phenomenology of Direct Horror Chapter Four: Intimidating Imaginations: A Phenomenology of Suggested Horror Chapter Five: Startling Scares: A Phenomenology of Cinematic Shock Chapter Six: Anxious Anticipations: A Phenomenology of Cinematic Dread Chapter Seven: Apprehensive Agitation: A Phenomenology of Cinematic Terror Part III Chapter Eight: Moments of Intensity: Lived-Body Metamorphoses and Experienced Time Chapter Nine: Moments of Collectivity: The Cinema of Fear and Feelings of Belongingness Chapter Ten: The End Notes Bibliography Index

2010

Target Audience

College Audience

Topic

Film / Genres / Horror, Film / General, Media Studies, Film / History & Criticism

Lccn

2009-040612

Dewey Decimal

791.43/6164

Dewey Edition

Illustrated

Yes

Genre

Social Science, Performing Arts

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