{"title":"Medium Specificity, Iterative Ethics, and Algorithmic Culture in The Good Place","authors":"Jane Stadler","doi":"10.3167/proj.2019.130306","DOIUrl":"https://doi.org/10.3167/proj.2019.130306","url":null,"abstract":"In conversation with Carl Plantinga’s persuasive account of emotion and the ethics of engagement in Screen Stories, this article considers how audiences engage with film and television in an emotive, evaluative manner that is mediated by technology. Because sensory experience and immersive technologies set screen media apart from forms of storytelling such as literature and because technological developments affect the formal strategies of screen media, I argue that the distinctiveness of and differences between film and television warrant attention. I focus on the ethical implications of sustained engagement with immersive narratives and technologies in contemporary television and algorithmic culture.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"41 1","pages":"86-96"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75322688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Screen Stories, Ethics, and Practical Reason","authors":"M. Turvey","doi":"10.3167/proj.2019.130307","DOIUrl":"https://doi.org/10.3167/proj.2019.130307","url":null,"abstract":"This article questions the priority that Carl Plantinga accords to the viewer’s emotions in his theory of the rhetorical power of screen stories, and makes the case that reason, in the sense of practical reasoning, plays just as important a role as emotion in our ethical response to such fictions. Practical reasoning is the form of reasoning concerned with the actions of agents and what they should do in specific situations. The protagonists of screen stories often engage in practical reasoning, articulating and deliberating about the reasons for their actions, and secondary characters around them regularly question their reasons. In this way, these stories prompt us to understand and question their reasons too and thereby to engage in practical reasoning, a species of which is moral reasoning. Screen stories also often stage a confrontation between divergent ethical perspectives and ask audiences to reflect about which one is more morally compelling.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"10 1","pages":"97-104"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74404155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Toward a Naturalized Aesthetics of Film Music","authors":"Timothy Justus","doi":"10.3167/proj.2019.130302","DOIUrl":"https://doi.org/10.3167/proj.2019.130302","url":null,"abstract":"In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"14 1","pages":"1-22"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89887263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ethical Engagement with Movies","authors":"C. Freeland","doi":"10.3167/proj.2019.130308","DOIUrl":"https://doi.org/10.3167/proj.2019.130308","url":null,"abstract":"In Screen Stories, Carl Plantinga concedes that films have considerable power to manipulate our emotions, attitudes, and even action tendencies. Still, he believes that film viewers do consciously engage in various types of cognition and judgment, and thus he argues that they can resist films’ manipulations. The “engaged critic” he calls for can assist in assessing how films create and convey their moral messages. I raise some questions about the account Plantinga gives of how both character engagement and narrative structures contribute to filmic manipulation. First, I note that there is an unresolved active/passive tension in his picture of film viewers. Second, I suggest that his treatment of narrative paradigm scenarios does not offer a strong enough account of the specifically filmic aspects of screen stories and how they differ from literary stories. And finally, I raise some questions about his ideal of the ethically engaged film critic and the social role to be played by such a critic.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"13 1","pages":"105-111"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80479897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Screen Stories: Responses to the Critics","authors":"C. Plantinga","doi":"10.3167/proj.2019.130309","DOIUrl":"https://doi.org/10.3167/proj.2019.130309","url":null,"abstract":"This article is a discussion of and rejoinder to the comments of three respondents on my book, Screen Stories: Emotion and the Ethics of Engagement. Jane Stadler argues that the book would profit from more attention to the “temporal prolongation” made possible by multi-episode television, especially as it relates to the nature of character engagement. While I have reservations about the notion of medium specificity in relation to television and film (and thus prefer the term “screen stories”), I agree that temporal prolongation in relation to an ethics of screen stories is a vital topic. Malcolm Turvey argues that Screen Stories promotes moral intuition and emotion at the expense of moral reasoning and that an ethics of engagement should pay equal attention to reasoning. In my response, I enumerate four reasons why, despite my belief in the importance of reasoning, I focus on emotion and intuition. I do agree that, once we can decide just what moral reasoning is, it should become a focus of an ethics of engagement. Cynthia Freeland focuses her remarks on various aspects of the third part of my book, “The Contours of Engagement,” in which I examine how the features of screen stories can lead to viewer experiences with ethical implications. In response, I discuss three issues: medium specificity once more, the supposed tension between conceptions of the active and passive spectator, and the psychological underpinnings of various sorts of character engagement.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"43 1","pages":"112-120"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79850994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
G. Raz, G. Valente, M. Svanera, Sergio Benini, A. Kovács
{"title":"A Robust Neural Fingerprint of Cinematic Shot-Scale","authors":"G. Raz, G. Valente, M. Svanera, Sergio Benini, A. Kovács","doi":"10.3167/proj.2019.130303","DOIUrl":"https://doi.org/10.3167/proj.2019.130303","url":null,"abstract":"This article provides evidence for the existence of a robust “brainprint” of cinematic shot-scales that generalizes across movies, genres, and viewers. We applied a machine-learning method on a dataset of 234 fMRI scans taken during the viewing of a movie excerpt. Based on a manual annotation of shot-scales in five movies, we generated a computational model that predicts time series of this feature. The model was then applied on fMRI data obtained from new participants who either watched excerpts from the movies or clips from new movies. The predicted shot-scale time series that were based on our model significantly correlated with the original annotation in all nine cases. The spatial structure of the model indicates that the empirical experience of cinematic close-ups correlates with the activation of the ventral visual stream, the centromedial amygdala, and components of the mentalization network, while the experience of long shots correlates with the activation of the dorsal visual pathway and the parahippocampus. The shot-scale brainprint is also in line with the notion that this feature is informed among other factors by perceived apparent distance. Based on related theoretical and empirical findings we suggest that the empirical experience of close and far shots implicates different mental models: concrete and contextualized perception dominated by recognition and visual and semantic memory on the one hand, and action-related processing supporting orientation and movement monitoring on the other.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83572167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jose Cañas-Bajo, Teresa Canas-Bajo, Eleni Berki, Juri Valtanen, P. Saariluoma
{"title":"Designing a New Method of Studying Feature-Length Films","authors":"Jose Cañas-Bajo, Teresa Canas-Bajo, Eleni Berki, Juri Valtanen, P. Saariluoma","doi":"10.3167/proj.2019.130304","DOIUrl":"https://doi.org/10.3167/proj.2019.130304","url":null,"abstract":"Measuring viewers’ experiences of films has become a critical issue for filmmakers because all kinds of audiences now have access to new releases from all over the world. Some approaches have focused on the cognitive level of the experience, while others have emphasized the structure of films. Additionally, some have used quantitative objective methods to examine audience reactions to short film sequences, while others have applied qualitative approaches to study feature-length films. However, an integrated method that combines the features of these approaches is needed. In this article, we describe a new method that combines quantitative and qualitative data to study viewers’ experiences of different structural features of films. This method involves an online subjective response mechanism that can be used to capture and measure the experiences of different target audiences as they watch movies of different lengths.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"106 1","pages":"53-78"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86963088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alan Voodla, Elen Lotman, Richard Naar, M. Kolnes, A. Uusberg
{"title":"Cinematographic High-Contrast Lighting Can Facilitate Empathetic Affective Mimicry","authors":"Alan Voodla, Elen Lotman, Richard Naar, M. Kolnes, A. Uusberg","doi":"10.31234/osf.io/3vqsj","DOIUrl":"https://doi.org/10.31234/osf.io/3vqsj","url":null,"abstract":"Do cinematographic lighting techniques affect film viewers’ empathic reactions? We investigated the effect of high- and low-contrast lighting on affective empathy toward depicted actors. Forty one participants watched short clips of professional actors expressing happiness, anger, and disgust, and rated the valence and intensity of their own and actors’ emotional states. Affective empathy was assessed through the extent of the facial mimicry of actors’ emotional expressions and quantified through electromyographic activation of expression-specific facial muscles. We managed to elicit facial mimicry for happiness and anger, but not for disgust. High-contrast lighting further amplified empathic mimicry for happy but not for angry expressions. High-contrast lighting also amplified subjective feelings elicited by angry and disgusted but not happy expressions. We conclude that high-contrast lighting can be an effective means for influencing film viewers’ empathic reactions through the low road to empathy, even as the overall impact of lighting also relies on the high road to empathy.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81805231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Grey Gardens and the Problem of Objectivity","authors":"Mathew Abbott","doi":"10.3167/PROJ.2019.130206","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130206","url":null,"abstract":"This article turns to the Maysles brothers’ 1975 film Grey Gardens to problematize the philosophical assumptions at work in debates about objectivity and direct cinema. With a suitable picture of documentary objectivity we can avoid endorsing the claim that no film can be objective or the corollary that only documentaries that reflexively acknowledge the biases of their makers can succeed aesthetically or ethically. Against critics who have attacked Grey Gardens for its problematic claims to objectivity as well as theorists defending it for how it undermines objectivity, I argue that the film’s objective treatment of its subjects is part of its aesthetic and ethical achievement. In the context of observational documentary, being objective does not mean taking a purely dispassionate stance toward one’s subjects, but treating them without prejudice or moralism and letting them reveal themselves.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"2013 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86469367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Toward a Model of Distributed Affectivity for Cinematic Ethics","authors":"Philip W. Martin","doi":"10.3167/PROJ.2019.130205","DOIUrl":"https://doi.org/10.3167/PROJ.2019.130205","url":null,"abstract":"Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87368398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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