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Understanding cinema

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Understanding Cinema, first published in 2003, analyzes the moving imagery of film and television from a psychological perspective. Per Persson argues that spectators perceive, think, apply knowledge, infer, interpret, feel and make use of knowledge, assumptions, expectations and prejudices when viewing and making sense of film. Drawing psychology and anthropology, he explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator. This study integrates psychological and culturalist approaches to meanings and reception. Anchoring the discussion in concrete examples from early and contemporary cinema, Understanding Cinema also analyzes the design of cinema conventions and their stylistic transformations through the evolution of film.

Title Understanding cinema : a psychological theory of moving imagery / Per Persson. [electronic resource]
Publisher Cambridge : Cambridge University Press
Creation Date 2003
Notes Title from publisher's bibliographic system (viewed on 05 Oct 2015).
Includes bibliographical references (p. 261-275) and index.
English
Content 1. Understanding and dispositions -- Psychology: understanding and dispositions -- Parameters of dispositions -- The psychological model of reception -- Discourse and meaning -- Some specifications of the model -- 2. Understanding point-of-view editing -- Historical context of point-of-view editing -- Spatial immersion begins -- Editing between adhacent places: movement -- Editing between adjacent places: gazing -- Functions of point-of-view editing -- Deictic gaze -- The structure deictic-gaze bahavior -- How does point-of-view editing work? -- Explaining the presence of the point-of-view convention in mainstream cinema -- 3. Variable framing and personal space -- Personal space -- Visual media and personal space -- Personal space and variable framing -- Early cinema -- Variable framing in mainstream narrative cinema -- Voyeurism -- 4. Character psychology and mental attribution -- Textual theories of characters -- Reception-based theories of characters -- The psychology of recognition and alignment -- Why Mental States? -- "Subjective Access" versus "Mental Attribution" -- Mental attribution in everyday life -- Mental attribution processes in reception of cinema -- The emotions of cinematic characters -- Text and mental attribution -- The narrativization and psychologization of early cinema psychology as complement?
Extent 1 online resource (xi, 281 pages) : digital, PDF file(s).
Language English
National Library system number 997010709430105171
MARC RECORDS
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