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Que retient-on d'un film ? Que se produit-il lorsqu'un film laisse son empreinte sur la cire molle de notre mémoire ? Cet ouvrage étudie entre autres le rôle de l'imagination et de la memoria pour comprendre comment le spectateur s'approprie le film qu'il regarde. Le résultat de ce processus est appelé figure. C'est le fondement de la culture filmique et l'artefact principal de ce musée imaginaire du cinéma que chaque spectateur possède et où il conserve ce qu'il a retenu du cinéma. L'enquête est menée à partir d'un film unique et, plus particulièrement, à partir d'un épisode de ce film : Psycho d'Alfred Hitchock et le célèbre meurtre sous la douche.

Motion picture audiences --- Hitchcock, Alfred, - 1899-1980

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"Structured by critical comparisons to Spain's masterworks in meta-art - Don Quixote, Las meninas, and Un chien andalou-, this book is about the power of cinema to conjure up thoughts within the viewer otherwise repressed in their socio-cultural environment"-- Can cinema reveal its audience's most subversive thinking? Do films have the potential to project their viewers' innermost thoughts making them apparent on the screen? This book argues that cinema has precisely this power, to unveil to the spectator their own hidden thoughts. It examines case studies from various cultures in conversation with Spain, a country whose enduring masterpieces in self-reflexive or meta-art provide insight into the special dynamic between viewer and screen.Framed around critical readings of Miguel de Cervantes' Don Quixote, Diego Velázquez' Las meninas and Luis Buñuel's Un chien andalou, this book examines contemporary films by Víctor Erice, Carlos Saura, Bigas Luna, Alejandro Amenábar, Lucrecia Martel, Krzysztof Kieslowski, David Lynch, Pedro Almodóvar, Spike Jonze, Andrzej Zulawski, Fernando Pérez, Alfred Hitchcock, Wes Craven and David Cronenberg to illustrate how self-reflexivity in film unbridles the mental repression of film spectators. It proposes cinema as an uncanny duplication of the workings of the brain – a doppelgänger to human thought.

Motion pictures --- Motion picture audiences --- History. --- Philosophy. --- Arts

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Characters - those fictional agents populating the fictional worlds we spend so much time absorbed in - are ubiquitous in our lives. We track their fortunes, judge their actions, and respond to them with anger, amusement, and affection - indeed the whole palette of human emotions. Powerfully drawn characters transcend their stories, entering into our imaginations and deliberations about the actual world, acting as analogies and points of reference. And yet there has been remarkably little sustained and systematic reflection on these creatures that absorb so much of our attention and emotional lives.In Engaging Characters, Murray Smith sets out a comprehensive analysis of character, exploring the role of characters in our experience of narrative and fiction. Smith's analysis focuses on film, and also illuminates character in literature, opera, song, cartoons, new and social media. At the heart of this account is an explanation of the capacity of characters to move us. Teasing out the various dimensions of character, Smith explores the means by which films draw us close to characters, or hold us at a distance from them, and how our beliefs and attitudes are formed and sometimes reformed by these encounters. Integrating these arguments with research on emotion in philosophy, psychology, evolutionary theory, and anthropology, Engaging Characters advances an account of the nature of fictional characters and their functions in fiction, imagination, and human experience.In this revised, twenty-fifth anniversary edition of Engaging Characters, Smith refines and extends the arguments of the first edition, with a substantial new introduction reviewing the debates on emotion, empathy, and film spectatorship that the book has inspired.

Characters and characteristics in motion pictures. --- Motion pictures --- Motion picture audiences. --- Identification (Psychology) --- Psychological aspects. --- Motion picture audiences --- Characters and characteristics in motion pictures

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Réflexion sur la relation du spectateur aux oeuvres cinématographiques. Le philosophe démontre qu'une reconstruction de la démarche artistique originelle et les intentions attribuées au réalisateur influent sur les critiques, positives ou négatives, portées sur un film. Etudes d'une douzaine de films : M le Maudit de F. Lang, Le voleur de bicyclette de V. de Sica, The tree of life de T. Malick... ©Electre 2015

Motion pictures --- Judgment (Aesthetics) --- Cinéma --- Jugement (Esthétique) --- Appreciation --- Appréciation --- Motion picture audiences --- Cognition --- Psychological aspects --- Psychology --- Cinéma --- Jugement (Esthétique) --- Appréciation --- Motion pictures - Psychological aspects --- Motion picture audiences - Psychology

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La figure centrale de cette étude est le spectateur, homme ordinaire du cinéma, plus quotidiennement appelé un télé-viseur. L'auteur examine les oscillations et les différences d'une posture à l'autre et tire les conséquences d'une préférence accordée, selon lui, par le consommateur d'images aux croyances au détriment des savoirs.

Motion pictures --- Motion picture audiences --- Cinéma --- Philosophy --- Psychology --- Philosophie --- Publics --- Psychologie --- Cinéma --- 791.41 --- CDL --- Semiotics