An afternoon organized by the Amsterdam Centre for Cross-Disciplinary Emotions and Sensory Studies (ACCESS)
MONDAY 15 APRIL 2013, 17-19 HRS
SPUI 25, AMSTERDAM
How does film move its spectators emotionally? Two researchers explore this question from the perspectives of film’s affective operations and cinematic narrativity.
Emotions are at the heart of the experience of film. The two speakers at this event present cutting-edge research on the question how film moves its spectators. They approach this question from two perspectives: that of affect, and that of the emotions. Dr. Tarja Laine (University of Amsterdam) focuses on the operations of affect, and explores how film aesthetics address our affective imagination directly through the senses in ways that are immediately felt in the body. Prof. E. Deidre Pribram (Molloy College, Long Island, New York) considers the place of emotions in narrativity. She will argue that emotional action is as pivotal to popular forms of storytelling as bodily action.
CINEMA AS AN EMOTIONAL AGENT
This presentation explores how film aesthetics address our affective imagination directly through the senses in ways that are immediately felt in the body, calling forth emotion from the inside. This includes not only how films feel about their subject matter and possess an emotional attitude toward the spectators, but also how films can move them within an emotional gamut that runs from horror through amusement to consolation.
E. DEIDRE PRIBRAM
EMOTIONS AND CINEMATIC NARRATIVITY
If cinematic action is that which moves a movie, then popular film narratives can be understood as the dynamic relationship between emotional action and physical action. My paper considers the place of emotions in narrativity, arguing that emotional action is as pivotal to popular forms of storytelling as bodily action. In contrast, a major trend in current cultural theory is the ‘turn to affect,’ and cinema is a principle terrain upon which affect theory is staked. Yet the turn to affect is a move away from narrativity and other forms of signification. What then are we talking about when we take up ‘Emotions and Film’?
Dr. Tarja Laine is assistant professor of film studies at the University of Amsterdam. She is the author of Feeling Cinema: Emotional Dynamics in Film Studies (2011) and Shame and Desire: Emotion, Intersubjectivity, Cinema (2007). Furthermore her essays on emotions and sensations in cinema and media have been published in various journals. Her research interests include cinematic emotions, film aesthetics and film-phenomenology.
E. Deidre Pribram is the author of Emotions, Genre, Justice in Film and Television: Detecting Feeling (Routledge 2011), and co-editor of Emotions: A Cultural Studies Reader (Routledge 2009), as well as having written numerous articles and chapters on cultural emotion studies, media studies, gender, and popular culture. She is Professor and Chairperson in the Communications Department of Molloy College, Long Island, New York. Currently, she is working on the book Emotional Disorders: Emotionality in Mental Illness, the Arts, and Cultural Theory.