Pub Date : 2021-03-01DOI: 10.3167/PROJ.2021.150107
C. Plantinga, M. Turvey
Friends and colleagues of Stephen Prince were shocked and saddened to learn of his death at the age of sixty-five on 30 December 2020 in Blacksburg, Virginia, after a brief illness. Steve was a good friend to many, a prolific scholar with a deep love of cinema, a beloved teacher, a trusted and valued colleague, and a generous mentor to younger scholars.
{"title":"In Memoriam: Stephen Prince","authors":"C. Plantinga, M. Turvey","doi":"10.3167/PROJ.2021.150107","DOIUrl":"https://doi.org/10.3167/PROJ.2021.150107","url":null,"abstract":"Friends and colleagues of Stephen Prince were shocked and saddened to learn of his death at the age of sixty-five on 30 December 2020 in Blacksburg, Virginia, after a brief illness. Steve was a good friend to many, a prolific scholar with a deep love of cinema, a beloved teacher, a trusted and valued colleague, and a generous mentor to younger scholars.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"96 2 1","pages":"106-107"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80302049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.3167/PROJ.2021.150104
Keyvan Sarkhosh, Winfried Menninghaus
In film criticism, “feel-good films” are widely dismissed as intellectually undemanding and sentimental entertainment. This study identifies key characteristics, emotional effects, and aesthetic qualities of feel-good films from the audience’s perspective. Although the feel-good film does not appear to be a genre in its own right, it is more than just a rather vague category. Romantic comedy films with a substantial share of drama are shown to be the most prototypical feel-good genre blend. Fairy-tale likeness and perceived lightness were indicated as key characteristics of these films. Yet for all their focus on happiness and relaxation, the emotional trajectories also involve serious conflicts and are experienced as profoundly moving. Moreover, preferences for feel-good films differ greatly, depending on gender and age.
{"title":"The Feel-Good Film","authors":"Keyvan Sarkhosh, Winfried Menninghaus","doi":"10.3167/PROJ.2021.150104","DOIUrl":"https://doi.org/10.3167/PROJ.2021.150104","url":null,"abstract":"In film criticism, “feel-good films” are widely dismissed as intellectually undemanding and sentimental entertainment. This study identifies key characteristics, emotional effects, and aesthetic qualities of feel-good films from the audience’s perspective. Although the feel-good film does not appear to be a genre in its own right, it is more than just a rather vague category. Romantic comedy films with a substantial share of drama are shown to be the most prototypical feel-good genre blend. Fairy-tale likeness and perceived lightness were indicated as key characteristics of these films. Yet for all their focus on happiness and relaxation, the emotional trajectories also involve serious conflicts and are experienced as profoundly moving. Moreover, preferences for feel-good films differ greatly, depending on gender and age.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"15 1","pages":"55-77"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89593644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.3167/PROJ.2021.150103
Thorbjörn Swenberg, Simon Carlgren
Audio-visual rhythm can be achieved in a variety of ways, in film as well as in music videos. Here, we have studied human visual responses to video editing with regard to musical beats, in order to better understand the role of visual rhythm in an audio-visual flow. While some suggest that music videos should maintain synchrony in the audio-visual rhythm, and others claim that music videos should be rhythmically loose in their structure, there is a functional aspect of vision and hearing that reacts to the juxtaposition of audio and visual rhythms. We present empirical evidence of cognitive effects, as well as perceptual differences with attentional effects, for viewers watching music videos cut on-beat and off-beat.
{"title":"On-Beat/Off-Beat","authors":"Thorbjörn Swenberg, Simon Carlgren","doi":"10.3167/PROJ.2021.150103","DOIUrl":"https://doi.org/10.3167/PROJ.2021.150103","url":null,"abstract":"Audio-visual rhythm can be achieved in a variety of ways, in film as well as in music videos. Here, we have studied human visual responses to video editing with regard to musical beats, in order to better understand the role of visual rhythm in an audio-visual flow. While some suggest that music videos should maintain synchrony in the audio-visual rhythm, and others claim that music videos should be rhythmically loose in their structure, there is a functional aspect of vision and hearing that reacts to the juxtaposition of audio and visual rhythms. We present empirical evidence of cognitive effects, as well as perceptual differences with attentional effects, for viewers watching music videos cut on-beat and off-beat.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"19 1","pages":"28-54"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91366215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.3167/PROJ.2021.150102
John P. Hutson, Joseph P. Magliano, T. Smith, Lester C. Loschky
This study tested the role of the audio soundtrack in the opening scene of Orson Welles’s Touch of Evil (Orson Welles and Albert Zugsmith, 1958) in supporting a predictive inference that a time bomb will explode, as the filmmakers intended. We designed two experiments and interpreted their results using the Scene Perception and Event Comprehension Theory (SPECT). Across both experiments, viewers watched the scene, we manipulated their knowledge of the bomb, and they made a predictive inference just before the bomb would explode. Experiment 1 found that the likelihood of predicting the explosion decreased when the soundtrack was absent. Experiment 2 showed that individual differences in working memory accounted for variability in generating the prediction when the soundtrack was absent. We explore the implications for filmmaking in general.
这项研究测试了在奥森·威尔斯的电影《魔触》(Orson Welles and Albert Zugsmith, 1958)的开场场景中，音频配乐的作用，以支持一个预测推断，即定时炸弹将会爆炸，正如电影制片人所希望的那样。我们设计了两个实验，并使用场景感知和事件理解理论(SPECT)解释了它们的结果。在两个实验中，观众观看了场景，我们操纵了他们对炸弹的认知，让他们在炸弹爆炸前做出预测推断。实验1发现，当没有配乐时，预测爆炸的可能性降低。实验2表明，工作记忆的个体差异解释了在没有音乐时产生预测的差异。我们将从总体上探讨这对电影制作的影响。
{"title":"“This Ticking Noise in My Head”","authors":"John P. Hutson, Joseph P. Magliano, T. Smith, Lester C. Loschky","doi":"10.3167/PROJ.2021.150102","DOIUrl":"https://doi.org/10.3167/PROJ.2021.150102","url":null,"abstract":"This study tested the role of the audio soundtrack in the opening scene of Orson Welles’s Touch of Evil (Orson Welles and Albert Zugsmith, 1958) in supporting a predictive inference that a time bomb will explode, as the filmmakers intended. We designed two experiments and interpreted their results using the Scene Perception and Event Comprehension Theory (SPECT). Across both experiments, viewers watched the scene, we manipulated their knowledge of the bomb, and they made a predictive inference just before the bomb would explode. Experiment 1 found that the likelihood of predicting the explosion decreased when the soundtrack was absent. Experiment 2 showed that individual differences in working memory accounted for variability in generating the prediction when the soundtrack was absent. We explore the implications for filmmaking in general.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"86 1","pages":"1-27"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81273171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-005
{"title":"4 First-Person Graphic, 1959–2010","authors":"","doi":"10.1515/9780804781787-005","DOIUrl":"https://doi.org/10.1515/9780804781787-005","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76698048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-003
{"title":"2 Serial Pleasures, 1907–1938","authors":"","doi":"10.1515/9780804781787-003","DOIUrl":"https://doi.org/10.1515/9780804781787-003","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78055592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-007
{"title":"6 Coda: Comics, Film, and the Future of Twenty-First-Century Storytelling","authors":"","doi":"10.1515/9780804781787-007","DOIUrl":"https://doi.org/10.1515/9780804781787-007","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81272680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-006
{"title":"5 Archives and Collectors, 1990–2010","authors":"","doi":"10.1515/9780804781787-006","DOIUrl":"https://doi.org/10.1515/9780804781787-006","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84206974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-002
{"title":"1 Fragments of Modernity, 1889–1920","authors":"","doi":"10.1515/9780804781787-002","DOIUrl":"https://doi.org/10.1515/9780804781787-002","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81211381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9780804781787-009
{"title":"Index","authors":"","doi":"10.1515/9780804781787-009","DOIUrl":"https://doi.org/10.1515/9780804781787-009","url":null,"abstract":"","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"404 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79745452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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