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Towards a Psychological Construct of Being Moved
TLDR
The most distinctive findings regarding cognitive appraisal dimensions were very low ratings for causation of the event by oneself and for having the power to change its outcome, along with very high ratings for appraisals of compatibility with social norms and self-ideals.
What Are Aesthetic Emotions?
TLDR
Following Kant’s definition, it is proposed that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation.
Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear
TLDR
This chapter discusses multiplexperiences, individualized Immersion and Collective Feelings, and moments of Collectivity in the Cinema of Fear and Feelings of Belongingness.
The Distancing-Embracing model of the enjoyment of negative emotions in art reception
TLDR
It is argued that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only, and it is proposed that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.
Why we like to watch sad films. The pleasure of being moved in aesthetic experiences
This article investigates an age-old, puzzling question: how can a negatively valenced emotion such as sadness go together with aesthetic liking and even pleasure? We propose that an answer to this
Watching a film with others: towards a theory of collective spectatorship
This essay suggests that collectively watching a film with quiet attention should be considered a kind of joint action. When silently watching a film in a cinema the viewers are not merely engaged in
Dis/liking disgust: the revulsion experience at the movies
Disgust is a frequent and often powerful part of the cinematic experience – from horror movies and teenage comedies to fantasy films and art-house pictures. This paper aims in three directions: (a)
The journeys of a film phenomenologist: An interview with Vivian Sobchack on being and becoming
In this interview Vivian Sobchack, a leading film phenomenologist worldwide and Professor Emerita at UCLA, looks back at her career as a film and media scholar. She relates how she first wanted to
Toward a Poetics of Cinematic Disgust
This essay tries to categorize the range of artistic options that filmmakers currently have at hand to evoke bodily disgust. It asks: If we examine the variety of disgusting scenes at the movies, how
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