Book part: Phaneroskopie: Erste Überlegungen zur orektischen Filmanalyse
Abstract
Taking Hitchcock’s remark that the screen needs to be filled with emotion as a point of departure, the article sets out to refine Greg Smith’s mood-cue-approach to an ‹orectic film analysis› which places particular attention to the interplay of sensation and imagination that are caused by the film experience. The affective and cognitive reception of films can be studied using C. S. Peirce’s interpretant model. This approach seems particularly insightful with regards to scenes in which the narration almost comes to a halt and the audience realise the sensation and imagination that give the film a particular meaning. The essay illustrates the function of the dynamicenergetic interpretant using a variety of filmic examples.
Preferred Citation
BibTex
Bauer, Matthias; Hochscherf, Tobias: Phaneroskopie: Erste Überlegungen zur orektischen Filmanalyse. In: : . Marburg: Schüren 2013, S. 96-115. DOI: http://dx.doi.org/10.25969/mediarep/18200.
@INCOLLECTION{Bauer2013,
author = {Bauer, Matthias and Hochscherf, Tobias},
title = {Phaneroskopie: Erste Überlegungen zur orektischen Filmanalyse},
year = 2013,
doi = "\url{http://dx.doi.org/10.25969/mediarep/18200}",
volume = 5,
address = {Marburg},
series = {Jahrbuch immersiver Medien},
pages = {96--115},
publisher = {Schüren},
}
author = {Bauer, Matthias and Hochscherf, Tobias},
title = {Phaneroskopie: Erste Überlegungen zur orektischen Filmanalyse},
year = 2013,
doi = "\url{http://dx.doi.org/10.25969/mediarep/18200}",
volume = 5,
address = {Marburg},
series = {Jahrbuch immersiver Medien},
pages = {96--115},
publisher = {Schüren},
}
Keywords
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