Pub Date : 2019-06-01DOI: 10.3167/PROJ.2019.130202
C. Plantinga
The stories we tell each other, or present via mass media, are important components of the cultural ecology of a place and time. This article argues that 300 (2007), directed by Zach Snyder and based on a comic book series both written and illustrated by Frank Miller, evinces what can legitimately be called a “fascist aesthetic” that depends in large part on the moods and emotions the screen story both represents and elicits. While many other commentators have charged this film with incipient fascism, this article both deepens and expands on the claim by showing how the film’s elicitation of affect contributes to this aesthetic. The article argues that the affects represented and elicited in 300, when taken in conjunction with and in relation to the ideology they support, constitute what can be called “fascist affect.”
{"title":"Fascist Affect in 300","authors":"C. Plantinga","doi":"10.3167/PROJ.2019.130202","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130202","url":null,"abstract":"The stories we tell each other, or present via mass media, are important components of the cultural ecology of a place and time. This article argues that 300 (2007), directed by Zach Snyder and based on a comic book series both written and illustrated by Frank Miller, evinces what can legitimately be called a “fascist aesthetic” that depends in large part on the moods and emotions the screen story both represents and elicits. While many other commentators have charged this film with incipient fascism, this article both deepens and expands on the claim by showing how the film’s elicitation of affect contributes to this aesthetic. The article argues that the affects represented and elicited in 300, when taken in conjunction with and in relation to the ideology they support, constitute what can be called “fascist affect.”","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"185 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77447223","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 : 2019-06-01DOI: 10.3167/proj.2019.130201
Robert Sinnerbrink
Since the early 1990s, phenomenology and cognitivism have become influential strands of inquiry in film theory. Phenomenological approaches remain focused on descriptive accounts of the embodied subject’s experiential engagement with film, whereas cognitivist approaches attempt to provide explanatory accounts in order to theorize cognitively relevant aspects of our experience of movies. Both approaches, however, are faced with certain challenges. Phenomenology remains a descriptive theory that turns speculative once it ventures to “explain” the phenomena upon which it focuses. Cognitivism deploys naturalistic explanatory theories that can risk reductively distorting the phenomena upon which it focuses by not having an adequate phenomenology of subjective experience. Phenomenology and cognitivism could work together, I suggest, to ground a pluralistic philosophy of film that is both descriptively rich and theoretically productive. From this perspective, we would be better placed to integrate the cultural and historical horizons of meaning that mediate our subjective experience of cinema.
{"title":"Guest Editor's Introduction","authors":"Robert Sinnerbrink","doi":"10.3167/proj.2019.130201","DOIUrl":"https://doi.org/10.3167/proj.2019.130201","url":null,"abstract":"Since the early 1990s, phenomenology and cognitivism have become influential strands of inquiry in film theory. Phenomenological approaches remain focused on descriptive accounts of the embodied subject’s experiential engagement with film, whereas cognitivist approaches attempt to provide explanatory accounts in order to theorize cognitively relevant aspects of our experience of movies. Both approaches, however, are faced with certain challenges. Phenomenology remains a descriptive theory that turns speculative once it ventures to “explain” the phenomena upon which it focuses. Cognitivism deploys naturalistic explanatory theories that can risk reductively distorting the phenomena upon which it focuses by not having an adequate phenomenology of subjective experience. Phenomenology and cognitivism could work together, I suggest, to ground a pluralistic philosophy of film that is both descriptively rich and theoretically productive. From this perspective, we would be better placed to integrate the cultural and historical horizons of meaning that mediate our subjective experience of cinema.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79712136","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 : 2019-06-01DOI: 10.3167/proj.2019.130207
Jane Stadler
The screen is the material and imaginative interface where biology meets technology. It is the nexus between science and fiction, where technological and ethical concerns surrounding synthespians, representations of replicants, and manifestations of synthetic biology come into play. This analysis of digital imaging and cinematic imagining of virtual actors and synthetic humans in films such as Blade Runner 2049 (Denis Villeneuve, 2017) examines the ethical implications of digital embodiment technologies and cybernetics. I argue that it is necessary to bring together science and the arts to advance understandings of embodiment and technology. In doing so, I explore commonalities between ethical concerns about technobiological bodies in cultural and scientific discourse and developments such as the creation of virtual humans and “deepfake” digital doubles in screen media.
{"title":"Synthetic Beings and Synthespian Ethics","authors":"Jane Stadler","doi":"10.3167/proj.2019.130207","DOIUrl":"https://doi.org/10.3167/proj.2019.130207","url":null,"abstract":"The screen is the material and imaginative interface where biology meets technology. It is the nexus between science and fiction, where technological and ethical concerns surrounding synthespians, representations of replicants, and manifestations of synthetic biology come into play. This analysis of digital imaging and cinematic imagining of virtual actors and synthetic humans in films such as Blade Runner 2049 (Denis Villeneuve, 2017) examines the ethical implications of digital embodiment technologies and cybernetics. I argue that it is necessary to bring together science and the arts to advance understandings of embodiment and technology. In doing so, I explore commonalities between ethical concerns about technobiological bodies in cultural and scientific discourse and developments such as the creation of virtual humans and “deepfake” digital doubles in screen media.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81431255","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 : 2019-06-01DOI: 10.3167/PROJ.2019.130204
L. D. Roo
In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
{"title":"Elemental Imagination and Film Experience","authors":"L. D. Roo","doi":"10.3167/PROJ.2019.130204","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130204","url":null,"abstract":"In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88593983","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 : 2019-06-01DOI: 10.3167/proj.2019.130203
Saige Walton
Maurice Merleau-Ponty’s existential phenomenology has been crucial to contemporary film-phenomenology, yet his later thought has not received the same attention. Drawing on “Eye and Mind” and other writings, I apply the philosopher’s ontological concept of depth to the cinema. Using Laurie Anderson’s Heart of a Dog (2015), an intimate, experimental portrait of animal life, death, grief, and loss, I approach Anderson’s film as “depthful” cinema, bringing Heart of a Dog into a dialogue with Merleau-Ponty, the film essay, and the lyrical film. Through its diffractions of the subjective “eye/I,” its poetic approach to grief, and its openness to nonhuman ways of being, I argue that Anderson’s film is in accord with Merleau-Ponty’s later thinking on depth in art and in the world.
莫里斯·梅洛-庞蒂的存在主义现象学对当代电影现象学有着至关重要的影响，但他后来的思想却没有得到同样的重视。借鉴《眼与心》等著作，我将哲学家关于深度的本体论概念运用到电影中。Laurie Anderson的《狗之心》(Heart of a Dog, 2015)是一部亲密的、实验性的动物生命、死亡、悲伤和失落的肖像，我将Anderson的电影视为“深度”电影，将《狗之心》带入与梅洛-庞蒂、电影散文和抒情电影的对话中。通过对主观“眼睛/我”的解读，对悲伤的诗意处理，以及对非人类存在方式的开放，我认为安德森的电影与梅洛-庞蒂后来对艺术和世界深度的思考是一致的。
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Pub Date : 2019-03-01DOI: 10.3167/proj.2019.130102
J. Cutting, K. Pearlman
We investigated physical changes over three versions in the production of the short historical drama, Woman with an Editing Bench (2016, The Physical TV Company). Pearlman, the film’s director and editor, had also written about the work that editors do to create rhythms in film (Pearlman 2016), and, through the use of computational techniques employed previously (Cutting et al. 2018), we found that those descriptions of the editing process had parallels in the physical changes of the film as it progressed from its first assembled form, through a fine cut, to the released film. Basically, the rhythms of the released film are not unlike the rhythms of heartbeats, breathing, and footfalls—they share the property of “fractality.” That is, as Pearlman shaped a story and its emotional dynamics over successive revisions, she also (without consciously intending to do so) fashioned several dimensions of the film— shot duration, motion, luminance, chroma, and clutter—so as to make them more fractal.
我们调查了历史短剧《坐在编辑台上的女人》(2016年，the physical TV Company)制作过程中三个版本的身体变化。电影的导演兼编辑Pearlman也写过关于编辑在电影中创造节奏的工作(Pearlman2016)，并且通过使用以前使用的计算技术(Cutting et al. 2018)，我们发现这些对编辑过程的描述在电影从最初的组装形式，通过精细剪辑，到发行电影的过程中，在电影的物理变化中有相似之处。基本上，这部上映的电影的节奏与心跳、呼吸和脚步的节奏没有什么不同——它们都具有“分形”的特性。也就是说，随着珀尔曼在不断修改的过程中塑造故事及其情感动态，她也(无意中)塑造了电影拍摄时间、运动、亮度、色度和杂乱的几个维度，从而使它们更加分形。
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Pub Date : 2019-03-01DOI: 10.3167/PROJ.2019.130103
J. Vassilieva
This article analyzes the unique historical collaboration between the revolutionary Russian film director Sergei Eisenstein (1898–1948), the cultural psychologist Lev Vygotsky (1896–1934), and the founder of contemporary neuropsychology, Alexander Luria (1902–1977). Vygotsky’s legacy is associated primarily with the idea that cultural mediation plays a crucial role in the emergence and development of personality and cognition. His collaborator, Luria, laid the foundations of contemporary neuropsychology and demonstrated that cultural mediation also changes the functional architecture of the brain. In my analysis, I demonstrate how the Eisenstein-Vygotsky-Luria collaboration exemplifies a strategy of productive triangulation that harnesses three disciplinary perspectives: those of cultural psychology, neuropsychology, and film theory and practice.
{"title":"The Eisenstein-Vygotsky-Luria Collaboration","authors":"J. Vassilieva","doi":"10.3167/PROJ.2019.130103","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130103","url":null,"abstract":"This article analyzes the unique historical collaboration between\u0000the revolutionary Russian film director Sergei Eisenstein (1898–1948), the cultural\u0000psychologist Lev Vygotsky (1896–1934), and the founder of contemporary\u0000neuropsychology, Alexander Luria (1902–1977). Vygotsky’s legacy is associated\u0000primarily with the idea that cultural mediation plays a crucial role in the emergence\u0000and development of personality and cognition. His collaborator, Luria,\u0000laid the foundations of contemporary neuropsychology and demonstrated\u0000that cultural mediation also changes the functional architecture of the brain.\u0000In my analysis, I demonstrate how the Eisenstein-Vygotsky-Luria collaboration\u0000exemplifies a strategy of productive triangulation that harnesses three disciplinary\u0000perspectives: those of cultural psychology, neuropsychology, and film\u0000theory and practice.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73305936","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 : 2019-03-01DOI: 10.3167/PROJ.2019.130104
Valerio Sbravatti
The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes the startle more intense. I will analyze the acoustic startle using a neurofilmological approach, which takes into account findings from experimental sciences in order to better understand the relationship between physiological and psychological factors that make such an effect possible during the filmic experience.
{"title":"Acoustic Startles in Horror Films","authors":"Valerio Sbravatti","doi":"10.3167/PROJ.2019.130104","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130104","url":null,"abstract":"The acoustic blast is one of the most recurrent sound devices in horror\u0000cinema. It is designed to elicit the startle response from the audience, and\u0000thus gives them a “jump scare.” It can occur both in the form of a diegetic bang\u0000and in the form of a nondiegetic stinger (i.e., a musical blare provided by the\u0000score). In this article, I will advance the hypothesis that silence plays a crucial\u0000role in contemporary horror films, both perceptually, since it leaves the sound\u0000field free for the acoustic blast, and cognitively, since it posits the audience in\u0000an aversive anticipatory state that makes the startle more intense. I will analyze\u0000the acoustic startle using a neurofilmological approach, which takes into\u0000account findings from experimental sciences in order to better understand\u0000the relationship between physiological and psychological factors that make\u0000such an effect possible during the filmic experience.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"113 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79809234","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 : 2019-03-01DOI: 10.3167/proj.2019.130101
Ted Nannicelli
Welcome to the first issue of our first three-issue volume of Projections. We begin this issue with a truly exciting collaboration between a filmmaker (and scholar), Karen Pearlman, and a psychologist, James E. Cutting. Cutting and Pearlman analyze a number of formal features, including shot duration, across successive cuts of Pearlman’s 2016 short film, Woman with an Editing Bench. They find that the intuitive revisions that Pearlman made actually track a progression toward fractal structures – complex patterns that also happen to mark three central pulses of human existence (heartbeat, breathing, walking).
{"title":"From the Editor","authors":"Ted Nannicelli","doi":"10.3167/proj.2019.130101","DOIUrl":"https://doi.org/10.3167/proj.2019.130101","url":null,"abstract":"Welcome to the first issue of our first three-issue volume of Projections. We begin this issue with a truly exciting collaboration between a filmmaker (and\u0000scholar), Karen Pearlman, and a psychologist, James E. Cutting. Cutting and Pearlman analyze a number of formal features, including shot duration, across successive cuts of Pearlman’s 2016 short film, Woman with an Editing Bench.\u0000They find that the intuitive revisions that Pearlman made actually track a progression toward fractal structures – complex patterns that also happen to\u0000mark three central pulses of human existence (heartbeat, breathing, walking).","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87735858","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 : 2019-03-01DOI: 10.3167/PROJ.2019.130105
Jens Kjeldgaard‐Christiansen
Many narrative films feature villains, major characters that audiences are meant to condemn. This article investigates the cognitive-affective underpinnings of audience antipathy in order to shed light on how filmic villainy is constructed. To that end, the article introduces an analytical framework at the intersection of cognitive film theory and moral psychology. The framework analyzes villainy into three categories: guilty intentionality, consequential action, and causal responsibility.
{"title":"A Structure of Antipathy","authors":"Jens Kjeldgaard‐Christiansen","doi":"10.3167/PROJ.2019.130105","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130105","url":null,"abstract":"Many narrative films feature villains, major characters that audiences\u0000are meant to condemn. This article investigates the cognitive-affective\u0000underpinnings of audience antipathy in order to shed light on how filmic villainy\u0000is constructed. To that end, the article introduces an analytical framework\u0000at the intersection of cognitive film theory and moral psychology. The\u0000framework analyzes villainy into three categories: guilty intentionality, consequential\u0000action, and causal responsibility.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87406993","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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