Hostname: page-component-cd9895bd7-dzt6s Total loading time: 0 Render date: 2024-12-26T04:07:57.416Z Has data issue: false hasContentIssue false
  • English
  • Français

Genre scripts and appreciation of negative emotion in the reception of film

Published online by Cambridge University Press:  29 November 2017

Ed S. Tan  and
Valentijn T. Visch
Ed S. Tan
Affiliation:
Department of Media, Cognition and Communication, Faculty of Humanities, University of Copenhagen, Copenhagen Dk2300, Denmark. http://mcc.ku.dk/staff/?pure=en/persons/545153 Amsterdam School of Communication Research, University of Amsterdam, Amsterdam 1018 WV, The Netherlands. e.s.h.tan@uva.nlhttp://www.uva.nl/en/profile/t/a/e.s.h.tan/e.s.h.tan.html
Valentijn T. Visch
Affiliation:
Faculty of Industrial Design Engineering, Delft Technical University, Delft 2628 CE, The Netherlands. V.T.Visch@tudelft.nlhttps://www.tudelft.nl/io/over-de-faculteit/persoonlijke-profielen/universitair-hoofddocenten/visch-vt/
Get access Rights & Permissions [Opens in a new window]

Abstract

The Distancing-Embracing model reserves a role for genre scripts in the hedonic valuation of negative emotion in art. Genre scripts, as defined in the target article, leave higher-level recipient intuitions out of scope. We argue that, in film genre scripts, lower-level stylistic features lend access to more complex conceptual knowledge, including pragmatic principles. The argument implies a consideration of the communicative dimension of aesthetic works, which could strengthen both factors of the Distancing-Embracing model.

Type
Open Peer Commentary
Information
Behavioral and Brain Sciences , Volume 40 , 2017 , e376
Copyright
Copyright © Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Barsalou, L. W. (2003) Abstraction in perceptual symbol systems. Philosophical Transactions of the Royal Society of London B: Biological Sciences 358(1435):1177–87.Google Scholar
Barsalou, L. W. (2008) Grounded cognition. Annual Review of Psychology 59:617–45.CrossRefGoogle ScholarPubMed
Bordwell, D. (1985) Narration in the fiction film. University of Wisconsin Press.Google Scholar
Leslie, A. M. (1987) Pretense and representation: The origins of ‘theory of mind’. Psychological Review 94:412–26.CrossRefGoogle Scholar
Silvia, P. J. & Brown, E. M. (2007) Anger, disgust, and the negative aesthetic emotions: Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts 1(2):100–106.Google Scholar
Visch, V. & Tan, E. (2009) Categorizing moving objects into film genres: The effect of animacy attribution, emotional response, and the deviation from non-fiction. Cognition 110:265–72.Google Scholar
Visch, V. T., Tan, E. S. & Saakes, D. P. (2015) Viewer knowledge: Application of exposure-based layperson knowledge in genre-specific animation production. International Journal of Design 9(1):83–89.Google Scholar