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Pulling focus: intersubjective experience, narrative film, and ethics

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Bibliographic Details
Main Author:	Stadler, Jane (Author)
Format:	Book
Language:	English
Published:	New York [u.a.] Continuum 2008
Subjects:	Ethik Film Motion pictures > Moral and ethical aspects Motion picture audiences > Psychology Auswirkung Publikum Wertwandel Narrativität Alltagsbewusstsein Kino
Links:	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016813840&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
Item Description:	Includes bibliographical references (p. 249-263) and index -- Includes filmography: p. 265
Physical Description:	XIII, 274 S. Ill. 25 cm
ISBN:	9780826429735 0826429734

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MARC


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Record in the Search Index

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adam_text	IMAGE 1 PU IIINGFOCUS INTERSUBJECTIVE EXPERIENCE, NARRATIVE FILM,ANDETHICS JANESTADLER .~ CONTINUUM IMAGE 2 CONTENTS LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IX ACKNOWLEDGMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XIII INTRODUCTION 1 1. ETHICS IN NARRATIVE FORM AND CONTENT. . . . . . . . . . . . . . . . . . . . . . . 13 ETHICS: CARE AND VIRTUE 15 NARRATIVE AND ETHICAL EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . 18 NARRATIVE AND PRACTICAL REASON. . . . . . . . . . . . . . . . . . . . . . . . . . . 20 BACKGROUND PICTURES AND NARRATIVE UNDERSTANDING 21 THE NARRATIVE STRUCTURE OF ETHICAL UNDERSTANDING. . . . . . . . . . . 23 ORAL NARRATIVES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ETHICS AND INTERPRETIVE ENGAGEMENT. . . . . . . . . . . . . . . . . . . . . . . 30 FORM AND CONTENT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 COMPLEX, EXTENDED NARRATIVES . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 2. INTERSUBJECTIVE PERCEPTION: PHENOMENOLOGY, EMBODIMENT, AND EVALUATION 38 PHENOMENOLOGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 EMBODIMENT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 TECHNOLOGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 THE FILM'S BODY 47 SPECTATORSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 INTERSUBJECTIVITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 3. LOSING THE PLOT: NARRATIVE STRUCTURE AND ETHICAL IDENTITY. . . . . . . 66 LIFE, NARRATIVE, AND INTELLIGIBILITY 68 PERSONAL IDENTITY AND NARRATIVE IDENTITY. . . . . . . . . . . . . . . . . . . 71 ABJECT HORROR AND UNNARRATABILITY . . . . . . . . . . . . . . . . . . . . . . . . 80 V IMAGE 3 VI CONTENTS NARRATIVE REALISM, NARRATIVE CONSTRUCTIVISM, AND NARRATIVISM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 NARRATIVE STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 4. UNDER THE INFLUENCE: VICE, VIOLENCE, AND VILLAINY. . . . . . . . . . . . . 96 MEDIA EFFECTS RESEARCH: OVERVIEW, GENERALIZATIONS, AND LIMITATIONS . . . . . . . . . . . . . . . . . . . . . . . . 99 VERBAL VIOLENCE: OFFENCE AND HARM , . . . . . 103 PREJUDICE, STEREOTYPING, AND INTERGROUP HOSTILITY. . . . . . . . . . 105 PROPERTY DESTRUCTION AND ILLEGAL OR HARMFUL ACTIVITIES. . . . . 108 SCREEN VIOLENCE AND VIEWER AGGRESSION 108 PERCEIVED REALISM, RELEVANCE, AND MODALITY. . . . . . . . . . . . . . 112 HUMOR AND VIOLENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 PHENOMENOLOGY, SCREEN VIOLENCE, AND NARRATIVE CONTEXT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 5. RESISTANCE AND RESPONSIVENESS: EMOTION AND CHARACTER ENGAGEMENT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 AN ACCOUNT OF EMOTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 THE PROBLEM OF BELIEF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 THE SIGNIFICANCE OF EMOTION IN ETHICAL LIFE. . . . . . . . . . . . 137 CONSEQUENCES AND INSTRUMENTALITY. . . . . . . . . . . . . . . . . . . . . . . 139 PROBLEMS WITH NARRATIVE'S PROPENSITY TO GENERATE EMOTION. 141 RESPONSIVENESS AND RESISTANCE . . . . . . . . . . . . . . . . . . . . . . . . . 142 SPECTATORSHIP AND ATTENTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 ENGAGING CHARACTERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 SYMPATHETIC UNDERSTANDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 EMPATHIC UNDERSTANDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 HAPTICS AND SUBSONICS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 MUSIC AND EMOTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 6. IMAGINATION: INNER SIGHT AND SILENT VOICES. . . . . . . . . . . . . . . . . 168 DEFINING IMAGINATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 THE CREATIVE IMAGINATION: INDUCTIVE REASONING IN ETHICAL DELIBERATION. . . . . . . . . . . . . . . . . . . . . 175 THE PROJECTION OF POSSIBILITIES: IMAGING AND IMAGINING IN FILM AND LITERATURE. . . . . . . . . . . . . . . . . . 177 THE CINEMATIC IMAGINATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 NARRATIVE IMAGINATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 IMAGE 4 CONTENTS VII ETHICAL IMAGINATION: ENVISIONING POSSIBILITIES AND CULTIVATING INSIGHT 196 7. SEEING IN THE DARK: ATTENTIVE ENGAGEMENT . . . . . . . . . . . 206 PERCEPTION AND ATTENTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 MORAL VISION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 FILMIC ATTENTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 SPECTATORSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 CONCLUSION: ETHICAL TRANSFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . 239 TRAVELING BETWEEN THE WORLD OF THE TEXT AND THE WORLD OF THE AUDIENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 FILMOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 INDEX. 267 IMAGE 5 LIST OFFIGURES INTRODUCTION FIGURE 1 ETERNAL SUNSHINE OF THE SPOTLESS MIND: CLOSING IMAGE OF JOEL AND CLEMENTINE ON MONTAUK BEACH 1 CHAPTER 1 FIGURE 2 DEAD MAN WALKING: HELEN HELPS MATTHEW ACCEPT RESPONSIBILITY FOR HIS CRIME 29 FIGURE 3 DEAD MAN WALKING: MATTHEW BREAKS DOWN IN REMORSE AS HE CONFESSES 29 CHAPTER 2 FIGURE 4 DEAD MAN WALKING: A VIEW OF HELEN, WITH THE SECURITY SCREEN BARELY VISIBLE IN SOFT FOCUS 49 FIGURE 5 DEAD MAN WALKING: A VIEW OF MATTHEW WITH THE SECURITY SCREEN IN SHARP RELIEF 49 FIGURE 6 DEAD MAN WALKING: MATTHEW'S REACTION AS HELEN SAYS, "1HEN YOU AND I HAVE SOMETHING IN COMMON. WE BOTH LIVE WITH THE POOR" . 50 FIGURE 7 DEAD MAN WALKING: MATTHEW IS BARELY VISIBLE THROUGH THE SCREEN AS HE DENIES RESPONSIBILITY FOR MURDER 50 FIGURE 8 DEAD MAN WALKING: REFLECTIONS IN THE GLASS SUGGEST INTERSUBJECTIVITY: HELEN CAN SEE HERSELF AS MATTHEW SEES HER, WHEN HE LOOKS THROUGH THE GLASS AT HER. THE SHOT SHOWS THE VIEWING SUBJECT, HELEN, AS WELL AS THE OBJECT OF HER GAZE, MATTHEW 57 FIGURE 9 DEAD MAN WALKING: WALTER AND HOPE'S PRESENCE IS SUPERIMPOSED OVER MATTHEW'S DEATH, EXPRESSING LEVELS OF EXPERIENCE BEYOND VISUAL PERCEPTION 60 CHAPTER 3 FIGURE 10 LOST HIGHWAY: OPENING SHOT OF FRED MADISON, FACING RIGHT 73 FIGURE 11 LOST HIGHWAY: SEQUENTIAL SHOT OF FRED MADISON, FACING LEFT 73 IX IMAGE 6 X LISTOF FIGURES FIGURE 12 LOST HIGHWAY: A PHOTOGRAPH OF RENEE AND ALICE, SIDE BY SIDE, WITH MR EDDY/DICK LAURANT, AND ANDY 77 FIGURE 13 LOST HIGHWAY: THE MYSTERY MAN'S FACE, SUPERIMPOSED OVER RENEE'S FEATURES IN FRED'S DREAM 79 CHAPTER4 FIGURE 14 8 MILE: EMINEM, HIS REFLECTION, AND THE CRACKED MIRROR IN THE OPENING SEQUENCE OF 8 MILE 102 FIGURE 15 8 MILE: THE GORY CONSEQUENCES OF VIOLENCE ARE SHOWN WHEN CHEDDAR BOB ACCIDENTALLY SHOOTS HIMSELF III FIGURE 16 IRON GIANT: A ROBOTIC, COMPUTERIZED POINT OF VIEW SHOT, WITH HOGARTH IN THE LASER'S SIGHTS, WHEN THE GIANT FIRES AT HOGARTH AS AN AUTOMATIC DEFENSE MECHANISM 114 FIGURE 17 THE LION KING: SIMBA BATTLES SCAR AS A STORM BREWS AND THE SKY IS FILLED WITH SPARKS, FLAMES, AND THUNDER 116 FIGURE 18 BATMAN BEGINS: BATMAN THREATENING SCARECROW WHILST OOZING BLACK TAR, AS SEEN UNDER THE INFLUENCE OF THE PSYCHOTROPIC TOXIN 123 CHAPTER 5 FIGURE 19 THE BOYS: NOLA (UNFOCUSED IN THE BACKGROUND), GLENN AND HIS PARTNER JACKIE (FOREGROUND), AND STEVIE DRINKING BEER 138 FIGURE 20 THE BOYS: BRETT DISCUSSES NOLA'S CALL TO THE POLICE, AND HER INTENTION TO LEAVE THE SPRAGUE HOUSEHOLD 145 FIGURE 21 THE BOYS: MICHELLE EAVESDROPPING ON BRETT AND GLEN 149 FIGURE 22 THE BOYS: BRETT BEING WATCHED BY A SURVEILLANCE CAMERA 149 FIGURE 23 THE BOYS: LOOKING PAST OBSTACLES AT BRETT WITH A LOW-LEVEL CAMERA AND A LONG LENS 150 FIGURE 24 LITTLE FISH: LITTLE TRACY AT THE BEACH. A SNAPSHOT TRIGGERS A MEMORY UNDERSCORED BY THE "LITTLE FISH" THEME TUNE 162 FIGURE 25 LITTLE FISH: TRACY WAITS FOR JONNY, UNDERSCORED BY THE" LITTLE FISH" THEME TUNE 163 FIGURE 26 LITTLE FISH: TRACY LISTENS TO THE SCHOOL CHOIR SINGING "FLAME TREES" 163 CHAPTER6 FIGURE 27 ETERNAL SUNSHINE OF THE SPOTLESS MIND: AS THE LACUNA SPOTLIGHT SEARCHES FOR THE EMOTIONAL CORE OF JOEL'S MEMORIES, THE FACE OF AN ANONYMOUS WOMAN IN DR MIERZWIAK'S OFFICE IS OBLITERATED 179 IMAGE 7 LIST OFFIGURES XI FIGURE 28 ETERNAL SUNSHINE OF THE SPOTLESS MIND: BOOK TITLES DISAPPEAR FROM THEIR SPINES 180 FIGURE 29 ETERNAL SUNSHINE OF THE SPOTLESS MIND: BABY JOEL IN HIS CHILDHOOD KITCHEN 181 FIGURE 30 ETERNAL SUNSHINE OF THE SPOTLESS MIND: THE WARMTH OF A DISSOLVING KISS 182 FIGURE 31 THE PIANO: FLORA'S FATHER AFLAME, LIKE A CHILDISH DRAWING ILLUSTRATING HER IMAGINATIVE STORY 183 FIGURE 32 THE PIANO: A SHADOW PUPPET PLAY, SHOWING BLUEBEARD AXING HIS WIFE 185 FIGURE 33 THE PIANO: MAORI SPECTATORS WATCH THE PLAY IN HORROR, READY TO INTERVENE 185 FIGURE 34 THE PIANO: ADA, CONSTRAINED BY THE TIGHT CORSET OF VICTORIAN FEMININITY 188 FIGURE 35 THE PIANO: FLORA'S WINGS SIGNIFY FREEDOM 190 FIGURE 36 ETERNAL SUNSHINE OF THE SPOTLESS MIND: A RELATIONSHIP CRACKING WHILST ON THIN ICE 191 FIGURE 37 THE PIANO: TANGLED VINES AND DENSE FOLIAGE OBSTRUCT THE PATH BETWEEN ADA AND BAINES' HOMES 193 CHAPTER7 FIGURE 38 NIL BY MOUTH: VAL'S DOWDY APPEARANCE 210 FIGURE 39 ONCE WERE WARRIORS: AN IDYLLIC, PASTORAL OPENING SHOT. 223 FIGURE 40 ONCE WERE WARRIORS: THE CAMERA PULLS BACK TO REVEAL URBAN REALITY 224 FIGURE 41 ONCE WERE WARRIORS: BETH FACES HER INJURIES IN THE BATHROOM MIRROR 227 FIGURE 42 NIL BY MOUTH: VAL IS UNABLE TO FACE UP TO THE GRAVITY OF HER SITUATION. . 228
any_adam_object	1
author	Stadler, Jane
author_facet	Stadler, Jane
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dewey-ones	791 - Public performances
dewey-raw	791.4301
dewey-search	791.4301
dewey-sort	3791.4301
dewey-tens	790 - Recreational and performing arts
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id	DE-604.BV035146539
illustrated	Illustrated
indexdate	2025-01-29T13:04:42Z
institution	BVB
isbn	9780826429735 0826429734
language	English
lccn	2008023217
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-016813840
oclc_num	212847176
open_access_boolean
owner	DE-12
owner_facet	DE-12
physical	XIII, 274 S. Ill. 25 cm
publishDate	2008
publishDateSearch	2008
publishDateSort	2008
publisher	Continuum
record_format	marc
spelling	Stadler, Jane Verfasser aut Pulling focus intersubjective experience, narrative film, and ethics Jane Stadler New York [u.a.] Continuum 2008 XIII, 274 S. Ill. 25 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references (p. 249-263) and index -- Includes filmography: p. 265 Ethik Film Motion pictures Moral and ethical aspects Motion picture audiences Psychology Auswirkung (DE-588)4112646-4 gnd rswk-swf Publikum (DE-588)4047764-2 gnd rswk-swf Wertwandel (DE-588)4117636-4 gnd rswk-swf Narrativität (DE-588)4379691-6 gnd rswk-swf Alltagsbewusstsein (DE-588)4208248-1 gnd rswk-swf Ethik (DE-588)4015602-3 gnd rswk-swf Kino (DE-588)4129654-0 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Film (DE-588)4017102-4 s Narrativität (DE-588)4379691-6 s Kino (DE-588)4129654-0 s Publikum (DE-588)4047764-2 s Auswirkung (DE-588)4112646-4 s Ethik (DE-588)4015602-3 s DE-604 Wertwandel (DE-588)4117636-4 s Alltagsbewusstsein (DE-588)4208248-1 s b DE-604 SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016813840&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Stadler, Jane Pulling focus intersubjective experience, narrative film, and ethics Ethik Film Motion pictures Moral and ethical aspects Motion picture audiences Psychology Auswirkung (DE-588)4112646-4 gnd Publikum (DE-588)4047764-2 gnd Wertwandel (DE-588)4117636-4 gnd Narrativität (DE-588)4379691-6 gnd Alltagsbewusstsein (DE-588)4208248-1 gnd Ethik (DE-588)4015602-3 gnd Kino (DE-588)4129654-0 gnd Film (DE-588)4017102-4 gnd
subject_GND	(DE-588)4112646-4 (DE-588)4047764-2 (DE-588)4117636-4 (DE-588)4379691-6 (DE-588)4208248-1 (DE-588)4015602-3 (DE-588)4129654-0 (DE-588)4017102-4
title	Pulling focus intersubjective experience, narrative film, and ethics
title_auth	Pulling focus intersubjective experience, narrative film, and ethics
title_exact_search	Pulling focus intersubjective experience, narrative film, and ethics
title_full	Pulling focus intersubjective experience, narrative film, and ethics Jane Stadler
title_fullStr	Pulling focus intersubjective experience, narrative film, and ethics Jane Stadler
title_full_unstemmed	Pulling focus intersubjective experience, narrative film, and ethics Jane Stadler
title_short	Pulling focus
title_sort	pulling focus intersubjective experience narrative film and ethics
title_sub	intersubjective experience, narrative film, and ethics
topic	Ethik Film Motion pictures Moral and ethical aspects Motion picture audiences Psychology Auswirkung (DE-588)4112646-4 gnd Publikum (DE-588)4047764-2 gnd Wertwandel (DE-588)4117636-4 gnd Narrativität (DE-588)4379691-6 gnd Alltagsbewusstsein (DE-588)4208248-1 gnd Ethik (DE-588)4015602-3 gnd Kino (DE-588)4129654-0 gnd Film (DE-588)4017102-4 gnd
topic_facet	Ethik Film Motion pictures Moral and ethical aspects Motion picture audiences Psychology Auswirkung Publikum Wertwandel Narrativität Alltagsbewusstsein Kino
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016813840&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT stadlerjane pullingfocusintersubjectiveexperiencenarrativefilmandethics

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