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电影、情感与类型 被引量:14

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摘要 本文在一种认知主义情感观念的基础上,分析电影与观众情感之间的关系。认知心理学认为,情感并非与理性相悖,严格意义上的情感是具有意向性的身心状态,包含对情感对象的认识和判断(或评价)。本文以恐怖片、情节剧、悬念片这三种旨在引起特定情感状态的电影类型为例,提出了一个分析电影作品的情感结构的理论框架,并论证了这个框架在最低限度上对于相关类型电影的适用性。
出处 《电影艺术》 CSSCI 北大核心 2015年第2期115-121,共7页 Film Art
基金 国家社科基金艺术学青年项目“当代艺术哲学中的认知主义理论”(项目号:11CA080)的阶段性成果
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  • 1William James, "What is an Emotion?" in Mind 9 (1884): 188-205.
  • 2j Robert Soloman,"The Jamesian Theory of Emotion in Anthropology", in Culture Theory: Essays on Mind, Self and Emotion, ed. Richard A. Shweder and Robert A. Le Vine (Cambridge: Cambridge University Press, 1984), 214.
  • 3Stanley Schachter, Jerome E. Singer, "Cognitive, Social, and Physiological Determinants of State" ,excerpted in What ls An Emotion?, ed. Cheshire Calhoun and Robert C. Solomon (Oxford: Oxford University Press, 1984), 173-83.
  • 4Noel Carroll, "Notes on Movie Music" , in Theorizing the Moving Image (Cambridge: Cambridge University Press, 1996).
  • 5Noel Carroll, "Art, Nature and Emotion" , in The Emotions and Art, ed. Mette Hjort and Sue Laver (Oxford: Oxford University Press, 1997).
  • 6Toward a Theory of Point-of-View Editing: Communication, Emotion and the Movies," Theorizing the Moving Image.
  • 7Kith Oatley, Best-Luid Schemes (Cambfidk, e: Cambridge Universiw Press, 1992), 107-9,174-7.
  • 8Apt Feelings, or Why 'Women' s Film 'Aren' t Trivial ", in Post- Theory: Reconstructing Film Studies, ed. David Bordwell and NoEl Carroll (Madison: University of Wisconsin Press, 1996).
  • 9Noel Carroll, The Philosophy of Horror, or Paradoxes of the Hear, (New York: Routledge, 1990).
  • 10See also Noel Carroll," Horror and Humor," in Beyond Aesthetics (New York: Cambridge University Press, 2001).

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