Thrillers, weepies, horror movies and melodramas evoke characteristic kinds of emotional response, yet emotion is not much examined by film or literary theory. This work discusses emotional responses to films, integrating them into a theory of engagement, or identification with, characters in cinematic and literary fictions. Films and filmmakers discussed include: "The Accused"; Hitchcock (including detailed analyses of "The Man Who Knew Too Much" and "Saboteur"); Godard; Ruiz; Bunuel's "That Obscure Object of Desire"; ...
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Thrillers, weepies, horror movies and melodramas evoke characteristic kinds of emotional response, yet emotion is not much examined by film or literary theory. This work discusses emotional responses to films, integrating them into a theory of engagement, or identification with, characters in cinematic and literary fictions. Films and filmmakers discussed include: "The Accused"; Hitchcock (including detailed analyses of "The Man Who Knew Too Much" and "Saboteur"); Godard; Ruiz; Bunuel's "That Obscure Object of Desire"; Dovzhenko's "Arsenal"; Preminger's "Daisy Kenyon"; Bresson's "L'Argent"; Eisenstein's "Strike"; and Melville's "Le Doulos". This book should be of interest to students of film, cultural, literary and media studies, as well as students of literary theory and philosophy.
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Add this copy of Engaging Characters: Fiction, Emotion, and the Cinema to cart. $3.85, very good condition, Sold by Housing Works Online Bookstore rated 4.0 out of 5 stars, ships from New York, NY, UNITED STATES, published 1995 by Oxford University Press, USA.
