Julian Hanich is Associate Professor of Film Studies at the University of Groningen. He is the author of two monographs: The Audience Effect: On the Collective Cinema Experience (2018) and Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear (2010). Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt and an editor of the online film journal Senses of Cinema.
Inhaltsangabe
Introduction Every Theory Needs a Reference to Lived Experience: An Interview with Jean-Pierre Meunier Part I: Jean-Pierre Meunier: The Structures of the Film Experience: Filmic Identification Introduction Part One: Introduction to the General Structures of Experience Chapter I: Perception I. The point of view of traditional psychology II. The findings of phenomenology Chapter II: Identification I. The origins of the concept II. Identification as the behavior of private intersubjectivity III. The principal aspects of identification IV. Fleeting and structuring identifications V. Identification projection introjection VI. Identification mimicry and imitation VII. Identification and personality VIII. Identification communication and information Part Two: The Film Experience Chapter I: Filmic Consciousness Faced with its Object I. The film as an object of perception II. Film real and unreal III. The imaginary consciousness IV. The attitudes of filmic consciousness faced with its object V. From the home movie to the fiction film VI. Movement VII. Conclusion List of Illustrations List of Contributors
Introduction Every Theory Needs a Reference to Lived Experience: An Interview with Jean-Pierre Meunier Part I: Jean-Pierre Meunier: The Structures of the Film Experience: Filmic Identification Introduction Part One: Introduction to the General Structures of Experience Chapter I: Perception I. The point of view of traditional psychology II. The findings of phenomenology Chapter II: Identification I. The origins of the concept II. Identification as the behavior of private intersubjectivity III. The principal aspects of identification IV. Fleeting and structuring identifications V. Identification projection introjection VI. Identification mimicry and imitation VII. Identification and personality VIII. Identification communication and information Part Two: The Film Experience Chapter I: Filmic Consciousness Faced with its Object I. The film as an object of perception II. Film real and unreal III. The imaginary consciousness IV. The attitudes of filmic consciousness faced with its object V. From the home movie to the fiction film VI. Movement VII. Conclusion List of Illustrations List of Contributors
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