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008			080811s2009 caua b s001 0 eng
020			_a9780520256958 (cloth : alk. paper)
020			_a0520256956 (cloth : alk. paper)
020			_a9780520256965 (pbk. : alk. paper)
020			_a0520256964 (pbk. : alk. paper)
029	1		_aCDX _b8694913
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035			_a(OCoLC)ocn244246607
035			_a(OCoLC)244246607
040			_aDLC _cDLC _bspa
041			_aspa
043			_an-us---
049			_aGRAL
050	0	0	_aPN 1995.9 _bP714m 2009
082	0	0	_a302.2343 _222
100	1		_aPlantinga, Carl R.
245	1	0	_aMoving viewers : _bAmerican film and the spectator's experience / _cCarl Plantinga.
260			_aBerkeley : _bUniversity of California Press, _cc2009.
300			_axii, 280 p. : _bill. ; _c23 cm.
504			_aIncludes bibliographical references (p. 253-267) and index.
505	0		_aIntroduction: Affect and the movies : The significance of affect ; A theory of affect at the movies ; In defense of films ; Spectators and roles: a brief note on terminology -- 1. Pleasures, desires, fantasies : Movie pleasures ; Cognitive play ; Visceral experience ; Sympathy, antipathy, and parasocial engagement ; Narrative scenarios and emotional satisfactions ; Reflexive and social pleasures ; The multiple pleasures of the spectator ; Movie desires ; Movies as fantasies ; Movies and dreams -- 2. Movies and emotions : Automaticity and the psychological unconscious ; What is emotion? ; A cognitive-perceptual approach ; Basic concepts and terms ; Emotions inside and outside the movie theater ; The paradox of fiction ; Play and the regulation of emotion ; Kinds of emotion ; Direct, sympathetic/antipathetic, artifact, and meta-emotions ; Memory traces and associations ; Summary: emotions at the movies -- 3. Stories and sympathies : Affective prefocusing ; Paradigm scenarios ; Primary emotions and the movies ; Hollywood and the new Hollywood ; Narrative and character ; Classical narrative structure and emotion ; Character engagement ; Character goals and engagement ; The structure of engagement ; Character engagement and spectator difference ; What character engagement is: a summary -- 4. The sensual medium : Seeing and hearing movies ; Film and the body ; Direct affect ; Representing emotional experience ; Affective mimicry ; Mimicry and the face ; Mimicry and the body ; Music, sound, and affect ; Affect and contemporary Hollywood style -- 5. Affective trajectories and synesthesia : Narrative focus ; Character goals and narration ; Synesthetic affect and fittingness ; Narrative scenarios and synesthetic affect ; Shame, guilt, and the Spectator ; Shame and guilt as meta-emotions ; Shame/guilt scenarios and synesthetic affect ; Four parameters of affective trajectories -- 6. Negative emotions and sympathetic narratives : Sympathetic and distanced narratives ; The paradox of negative emotions ; Hume on the paradox of tragedy ; Catharsis? ; Managing the negative emotions ; The spillover effect ; Fantasies of assurance and control ; Ideology in sympathetic and distanced narratives -- 7. The rhetoric of emotion: disgust and beyond : The affective rhetoric of film ; The case of disgust ; Disgust defined ; The rise of movie disgust ; The nature of movie disgust ; The rhetoric of movie disgust ; Polyester and ironic disgust ; The rhetoric of emotion in film -- Conclusion: Moving viewers.
650		0	_aMotion picture audiences _xPsychology.
650		0	_aMotion pictures _zUnited States.
650		4	_aAudiencias _91739 _xCinematografia
650		0	_aPelículas _zEstados Unidos. _91740 _x Historia _ySiglo XX.
856	4	1	_3Table of contents only _uhttp://www.loc.gov/catdir/toc/ecip0826/2008035578.html
942			_2lcc _cBK
946			_aweb