by David Evan Richard Introduction This article suggests that the HBO recent limited television series Sharp Objects (created by Marti Noxon, 2018) invites spectators to temporarily inhabit the world of the depressed. Based on the novel by Gillian Flynn, Sharp Objects is directed by Jean-Marc Vallée, whose previous Big Little Lies (HBO, 2017-) similarly examined […]
by David W R Brown Over the past 30 years, film theorists have increasingly taken seriously the role that emotions play in our engagement with narrative art. Much of this discussion has focused on, to borrow Noël Carroll’s term, ‘garden-variety’ emotions, that is, the sorts of emotional responses that are familiar to viewers from ordinary […]
by Carl Plantinga One enduring concern of film theory has been the question of what film structures and styles encourage critical, reflective, and active spectatorship. Neo-Brechtian theory has been influential in this regard, as many of Brecht’s theories regarding the epic theatre were incorporated into film theory in the 1970s, just as the field was […]
by Steffen Hven Introduction Media-technologies exemplify how humans create a variety of environments designed to alter, enhance, sustain, or expand our emotional capacities in specific ways.[1] In reference to theories of ‘niche construction’ and ‘scaffolding’ in evolutionary biology,[2] a series of emotion researchers have proposed that affectivity – broadly construed to include emotions, moods, and […]
by Wyatt Moss-Wellington When we discuss falling in love, we tend to use terms that point to a division in thinking and feeling. Consider, for instance, the phrase ‘my head wants one thing but my heart wants another’. The experience of falling in love is not simply a change in our thoughts about another; it […]
by E. Deidre Pribram Much current television analysis focuses on the impending demise of the medium,[1] in which audiences are conjectured to splinter into ever more fragmented, minute bundles of viewers, in the aftermath of a proliferating multi-channel environment and as we move further into the digital era with its ever-enhanced viewing options. However, one […]
by Grant Bollmer Introduction In 2015, Facebook filed a patent that proposes the passive use of digital cameras on computers and smartphones, taking pictures of users, matching, among other things, photographed facial expressions with those in a database.[1] This would permit, the patent suggests, evaluation of subjective feelings about whatever appears on one’s social media […]
by Jens Eder, Julian Hanich, and Jane Stadler From movies to emojis, from love letters to flame wars, from shocking television news to immersive video games – emotions are of utmost importance for media production, reception, appropriation, and interaction. They guide the sensory perception and meaning-making of their users; they imprint media experiences into memory; […]
The Spring 2019 issue of NECSUS includes a special section on the theme #Emotions, guest edited by Jens Eder (Potsdam), Julian Hanich (Groningen), and Jane Stadler (Melbourne). The section brings together contributions by Steffen Hven, Grant Bollmer, Carl Plantinga, E. Deidre Pribram, Wyatt Moss-Wellington, David Evan Richard, and David W R Brown. Please refer to […]
guest edited by Jens Eder (Film University Babelsberg Konrad Wolf), Julian Hanich (University of Groningen), and Jane Stadler (Swinburne University) For more than two decades emotions have been a major topic of discussion and contention in film and media studies. From cognitive theories and phenomenology to affect studies, many different approaches have been suggested, many […]
The Australasian Animal Studies Association conference takes place from 12-15 July 2015 at the University of Melbourne. The title of this edition of the biannual gathering is Animal Publics: Emotions, Empathy, Activism. The conference is convened by the Australian Center and the Human Rights and Animal Ethics Research Network. Professor Barbara Creed, co-editor of the […]
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Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Judith Keilbach
Universiteit Utrecht
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Belén Vidal
King’s College London
Andrea Virginás
Sapientia University