<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.</p></abstract>

The paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.

Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema

Sapientia Hungarian University of Transylvania

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has...

Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema

Data publikacji: 29 paź 2020

Zakres stron: 57 - 71

DOI: https://doi.org/10.2478/ausfm-2020-0003

Słowa kluczowe
arresting image, self-reflexion, intermediality, stillness, painterly reference, professional sensitivization

© 2020 Hajnal Király, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema

Data publikacji: 29 paź 2020

Zakres stron: 57 - 71

DOI: https://doi.org/10.2478/ausfm-2020-0003

Słowa kluczowearresting image, self-reflexion, intermediality, stillness, painterly reference, professional sensitivization

© 2020 Hajnal Király, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
arresting image, self-reflexion, intermediality, stillness, painterly reference, professional sensitivization