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Popular film and television are ideally suited in understanding how emotions create culturally shared meanings. Yet very little has been done in this area. Emotion, Genre, and Justice in Film and Television explores textual representations of emotions from a cultural perspective, rather than in biological or psychological terms. It considers emotions as structures of feeling that are collectively shared and historically developed. Through their cultural meanings and uses, emotions enable social identities to be created and contested, to become fixed or alter. Popular narratives often take on emotional significance, aiding groups of people in recognizing or expressing what they feel and who they are. This book focuses on the justice genres – the generic network of film and television programs that are concerned with crime, law, and social order – to examine how fictional police, detective, and legal stories participate in collectively realized conceptions of emotion. A range of films (Crash, Man on Fire) and television series (Cold Case,Cagney and Lacey) serve as case studies to explore contemporarily relevant representations of anger, fear, loss and consolation, and compassion.
This edited collection offers a wide range of essays showcasing current research on emotions in TV series. The chapters develop from a variety of research traditions in film, television and media studies and explores American, British, Nordic and Spanish TV series.
Noël Carroll, a brilliant and provocative philosopher of film, has gathered in this book eighteen of his most recent essays on cinema and television—what Carroll calls “moving images.” The essays discuss topics in philosophy, film theory, and film criticism. Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of fascinating topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll’s earlier work Theorizing the Moving Image and develops them in new directions. A general introduction by George Wilson situates Carroll’s essays in relation to his view of moving-image studies.
This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock.
In her latest contribution to the growing field of emotion studies, Deidre Pribram makes a compelling argument for why culturalist approaches to the study of emotional "disorders" continue to be eschewed, even as the sociocultural and historical study of mental illness flourishes. The author ties this phenomenon to a tension between two fundamentally different approaches to emotion: an individualist approach, which regards emotions as the property of the individual, whether biologically or psychologically, and a culturalist approach, which regards emotions as collective, social processes with distinctive histories and meanings that work to produce particularized subjects. While she links a strong preference for the individualist construct in Western culture to the rise of the psychological and psychiatric disciplines at the turn of the twentieth century, Pribram also engages with a diverse set of case studies tied to psychological and aesthetic discourses on emotions. These range from Van Gogh’s status as emotionally disordered to the public, emotional aesthetics of 19th century melodrama to the diagnostic categories of the DSMs and the fear of "globalizing" emotional disorders in the 21st century. This genuinely interdisciplinary approach makes for a text with potential application in a wide range of disciplines within cultural studies, including sociocultural and historical analysis of psychiatry and psychology, gender theory, subject and identity theory, popular culture studies, and history and theory of the arts.
This book, stemming from an international conference, mainly explores the “private sphere” of minority cultures. To date, insufficient attention has been paid to ethnic minorities’ sense of subjecthood, e.g. their construction and articulation of self-understanding formed through lived experiences, sensibilities, emotions, sentiments, empathy, and even tempers and moods. Social misunderstanding, not to mention stereotyping, mystification and discrimination, often stems from neglecting the surprising and enlivening texture of minorities’ emotional world. Taking the important cue of the “affective turn” in cultural theory in recent years, the contributors address questions such as: what are the representations of affective/emotional energies and intensities surrounding the ethnic figures/strangers in visual culture (e.g. passivity, shame, anger, joy, empathy, charm, belonging, etc.)?; how do ethnic minorities respond to these visual narratives, and how can their self-representation through visual discourse reveal and transform their lived experiences?
This international collection discusses how the individualised, reflexive, late modern era has changed the way we experience and act on our emotions. Divided into four sections that include studies ranging across multiple continents and centuries, Emotions in Late Modernity does the following: Demonstrates an increased awareness and experience of emotional complexity in late modernity by challenging the legal emotional/rational divide; positive/negative concepts of emotional valence; sociological/ philosophical/psychological divisions around emotion, morality and gender; and traditional understandings of love and loneliness. Reveals tension between collectivised and individualised-privatised emotions in investigating ‘emotional sharing’ and individualised responsibility for anger crimes in courtrooms; and the generation of emotional energy and achievement emotions in classrooms. Debates the increasing mediation of emotions by contrasting their historical mediation (through texts and bodies) with contemporary digital mediation of emotions in classroom teaching, collective mobilisations (e.g. riots) and film and documentary representations. Demonstrates reflexive micro and macro management of emotions, with examinations of the ‘politics of fear’ around asylum seeking and religious subjects, and collective commitment to climate change mitigation. The first collection to investigate the changing nature of emotional experience in contemporary times, Emotions in Late Modernity will appeal to students and researchers interested in fields such as sociology of emotions, cultural studies, political science and psychology. Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Despite a variety of theoretical and practical undertakings, there is no coherent understanding of the concept of scale in digital history and humanities, and its potential is largely unexplored. A clearer picture of the whole spectrum is needed, from large to small, distant to close, global to local, general to specific, macro to micro, and the in-between levels. The book addresses these issues and sketches out the territory of Zoomland, at scale. Four regions and sixteen chapters are conceptually and symbolically depicted through three perspectives: bird's eye, overhead, and ground view. The variable-scale representation allows for exploratory paths covering areas such as: theoretical and applicative reflections on scale combining a digital dimension with research in history, media studies, cultural heritage, literature, text analysis, and map modelling; creative use of scale in new digital forms of analysis, data organisation, interfaces, and argumentative or artistic expressions. Zoomland provides a systematic discussion on the epistemological dimensions, hermeneutic methods, empirical tools, and aesthetic logic pertaining to scale and its innovative possibilities residing in humanities-based approaches and digital technologies.
Contemporary British Television Crime Drama examines one of the medium’s most popular genres and places it within its historical and industrial context. The television crime drama has proved itself capable of numerous generic reinventions and continues to enjoy some of the highest viewing figures. Crime drama offers audiences stories of right and wrong, moral authority asserted and resisted, and professionals and criminals, doing so in ways that are often highly entertaining, innovative, and thought provoking. In examining the appeal of this highly dynamic genre, this volume explores how it responds not only to changing social debates on crime and policing, but also to processes of hybridization within the television industry itself. Contributors, many of whom are leading figures in UK television studies, analyse popular series such as Broadchurch, Between the Lines, Foyle’s War, Poirot, Prime Suspect, Sherlock and Wallander. Essays examine the main characteristics of television crime drama production, including the nature of trans-Atlantic franchises and literary and transnational adaptations. Adopting a range of feminist, historical, aesthetic and industrial approaches, they offer incisive interrogations that provide readers with a rich understanding of the allure of crime drama to both viewers and commissioners.