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Embodied VisionsEvolution, Emotion, Culture and Film$
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Torben Grodal

Print publication date: 2009

Print ISBN-13: 9780195371314

Published to Oxford Scholarship Online: May 2009

DOI: 10.1093/acprof:oso/9780195371314.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 April 2021

Subjective Aesthetics in Film

Subjective Aesthetics in Film

(p.229) 10 Subjective Aesthetics in Film
Embodied Visions

Torben Grodal

Oxford University Press

This chapter analyzes those features of film that provide the feeling that a given part of a film is not a transparent representation of exterior reality but a representation either of inner life or of exterior reality colored and filtered by subjective elements. It argues that central in evoking subjective feelings is to hinder physical actions or thought actions in films; blocking action provides the film images with static, saturated feelings (equalia) central to film aesthetics. The chapter analyzes six important ways of evoking subjective, saturated emotions in films: (1) minimizing or freezing actions and blocking thought “actions” (i.e., propositions); (2) impeding perceptual access; (3) making the access to the space deviant or distorted; (4) making the portrayed actions deviant or distorted; (5) portraying situations with a problematic reality status; and (6) portraying deviant emotions and emotional reactions. The chapter also discusses the differences in the use of subjective elements in art films and in mainstream films.

Keywords:   art films, lyrical films, visual aesthetics, reality status, saturated emotions, neuroaesthetics, subjective experience

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