Relates to advertising, propaganda, stereotypes and roles, mass mind control, etc.
http://docs.google.com/viewer?a=v&q=cache:ESQFs_WAldkJ:media.utu.fi/affe\ ctive/bell.pdf+jennifer+lyon+bell&hl=en&gl=us&pid=bl&srcid=ADGEESgGWMmQL\ b4TdClJFz-9sm_FUIUfX7DheRYAoR_OUQkCavBsJTIGhlJsQ7txWWoPo-sadh7DGKp-5bVuo\ ebL7H5M1nTNMbqEQ8xg30MABCfw5BDHqs0p8Lg_JQ87n6cVnxJgg5rT&sig=AHIEtbQKVwpe\ h103LZnVdDknmrbXDlnyWw Murray Smith, a cognitive ïlm theorist, is the author of the book Engaging Characters: Fiction, Emotion, and the Cinema (1995). In this recent book, Smith puts forth a theory that he believes to be applicable to most genres. He has already applied it successfully to melodrama, suspense, French art ïlm, "Baudelairean" deca- dent cinema, and horror ïlm, among others. He believes that spectatorial emotion is generated speciïcally via character in ïlm, though the emotions the spectator feels do not have to match those of the character, as I will explain. Applying Smith to pornography makes sense for three reasons: Pornography appears to be designed exclusively to generate spectatorial emo- tion; Smith's entire interest is in how emotion is generated. Most pornography, including the most prototypical kind which ïlm scholar Linda Williams focused on in her seminal book on pornography Hard Core: Power, Pleasure, and the `Frenzy of the Visible' (1989), includes character and narrative in fact, quite a bit, as will become clear. It seems logical that these elements are included for some emotion-generating reason, and applying Smith to pornography could help parse out the reason. In pornography, the characters are experiencing activities that, presumably, the spectators are trying to experience vicariously. Using Smith may help determine the process by which the spectator engages with the character to enable that vicari- ous experience. In other analyses (e.g. Bell 2001b), I have explained that pornography engages with character to create sexual desire in three ways: Via the character as a person (a process based on emotion), via the character as a body (a process based on imaginative bodily engagement), and by bypassing the character completely (a proc- ess based on physiological arousal). However, in the interests of space, in this analy- sis I will focus only on the ïrst section the ways in which pornography contributes to the spectators' sexual desire by creating a character ïeshed out with emotions. --- In cia-drugs@yahoogroups.com, "muckblit" <muckb...@...> wrote: http://groups.yahoo.com/group/cia-drugs/message/49576
