(2006) ‘Transparency and Twist in Narrative Fiction Film’, Journal of Aesthetics and Art Criticism, 64:1, 81–95. (1986) Narration in Light: Studies in Cinematic Point of View (Baltimore, MD: Johns Hopkins University Press). Brown (ed.) Film and Television after DVD (London and New York: Routledge), pp. (2008) ‘Repeat Viewings: Television Analysis in the DVD Age’, in J. (2001) Reading Hollywood: Space and Meanings in American Film (London: Wallflower Press). (1972, reprinted 1993) Film as Film: Understanding and Judging Movies (New York: Da Capo Press). (2002) The Usual Suspects (London: BFI Publishing). (eds) (2005) Style and Meaning: Studies in the Detailed Analysis of Film (Manchester: Manchester University Press). (2001) Mise-en-scène: Film Style and Interpretation (London: Wallflower Press). (2006) ‘Cloaked Classification: The Misdirection Film and Generic Duplicity’, Journal of Film and Video, 58:4, 16–28. Perkins’, Film International, 3, 14–27.įriedman, S. (2004) ‘Fueled by Enthusiasms: Jeffrey Crouse Interviews V. This process is experimental and the keywords may be updated as the learning algorithm improves.Ĭrouse, J. These keywords were added by machine and not by the authors. Thus, the extent to which coherence is achieved within this narrative structure becomes a potential measure of the twist film’s value, concurrently shaping our sense of its aesthetic achievement. However, it is equally plausible that before impacts on narrative are evident children, need good expressive skills at word and utterance level. Twist films become a point of interest in such debates precisely because their narrative structures present a discernible challenge to themes of coherence, credibility and unity as they seek to rupture the defining order of their fictional worlds expressly for the dramatic impact of the storytelling volte-face. It may be, for example, that instruction in these classrooms was already supportive of narrative development and that the interventions did not add value to the provision already in place. My contention here is that, for a number of expressive critics, the notion of coherence has come to represent a practical means of evaluating the nature of a film’s achievements and, in turn, establish the quality of those achievements. We showed subjects brief films that were selected for their ability to elicit disgust and fear, and we asked them to report. In this chapter I seek to explore the idea of value in relation to the contemporary ‘twist’ film, drawing upon the theme of coherence as a key critical concept. In order to assess the extent of coherence in emotional response systems, we examined the relationship between facial expression and self-report of emotion at multiple points in time during an affective episode.
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