Kategorie-Archive:Aufsätze

Anger framed: A field study on emotion, pleasure, and art. (Erstautor: Wagner, Valentin; weitere Autoren: Klein, Julian; Shah, Mira; Menninghaus, Winfried; Jacobsen, Thomas).

In: Psychology of Aesthetics, Creativity, and the Arts. Vol. 10, Nr. 2, Mai 2016. Authors: Wagner, Valentin; Klein, Julian; Hanich, Julian; Shah, Mira; Menninghaus, Winfried; Jacobsen, Thomas. In: Psychology of Aesthetics, Creativity, and the Arts. Vol 10, Nr. 2, 2016. S. 134-146. Link zum PDF-Dokument

Suggestive Verbalizations in Film: On Character Speech and Sensory Imagination

In: New Review of Film and Television Studies (erscheint 2022) Against the background of a widespread language skepticism among film theorists and practitioners, this article aims to highlight the evocative potential of spoken words in cinema. Focusing on an aesthetic device dubbed ‘suggestive verbalization,’ it demonstrates how character speech can powerfully appeal to the spectator’s […]

On Pros and Cons and Bills and Gates: The Heist Film as Pleasure

In: Film-Philosophy. Vol. 24, Nr.3, 2020. S. 304-320. This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre […]

Abruptly Altered Horizons: Covid-19, Momentous Events and a Not so Rare Phenomenon in Historical Reception Studies.

In: Zeitschrift für Medienwissenschaft: Open Media Studies Blog. Mai 28, 2020 In this brief essay I draw attention to the effects momentous historical events – such as the Covid-19 pandemic, the Brexit referendum or the 9/11 attacks – can have on a film viewer’s interpretive horizon. How we interpret films shot long before the event […]

Beyond Sadness: The Multi-Emotional Trajectory of Melodrama (mit Winfried Menninghaus.)

In: Cinema Journal. Vol. 56, Nr. 4, 2017 Abstrakt: In this article we investigate the astonishing variety of emotions that a brief scene in a film melodrama can evoke. We thus take issue with the reductive view of melodrama that limits this genre’s emotional effects to sadness, pity, and tear-jerking potential. Through a close analysis […]