A collection of links, fun and serious, on film and culture, to start the week.
Remystifying Film: Aesthetics, Emotion and The Queen by Stella Hockenhull
from Film-Philosophy 16.1 (2012)
Focusing attention on an emotional response to art, Levinson argues, amongst other things, for the relationship between the spectator and the art work. He suggests that a viewer or reader may become emotionally involved with a character, either in literature or the visual arts, and experience sensations towards and empathy for that character as a real person. Similarly, emotion may be created through a work of art or an object: for example, and in particular, the abstract work of art. Levinson proposes two types of emotional response:
[t]he first type is where there is insufficient time for cognition (…), so that no real representation of the object responded to is formed, there being only a virtually instantaneous reaction, instinctive or reflexive in nature, unmediated by conscious thought (examples: apprehension at a suddenly looming shape, disgust at an accidentally felt slug). A second type is where, though cognition is involved in generating the response, the representation thus formed is either not propositional in nature, or else does not have the status of a judgement, or both (examples; phobic fear of garter snakes, unfounded resentment of female superiors) (1997, 24).
A Documentary about the homeless in Amherst MA, a side of town that people do not associate with an educated, successful college and touristy town.
Shoot! Existential Photography at the Photographers Gallery (London)
“Thou droning elf-skinned nut-hook!”
Metaphors are like air – they’re everywhere!
“There are some techniques that you do use as you write your first draft. However, most of those described in this article are more effectively used when you rewrite. They take a lot of thought to apply artfully, and you need to make aesthetic choices in order to use them in combination to create the complex emotions you intend to evoke.”
Actors analyse the script and what they get out of it is something that the writer puts into it. So the writer should be aware of performance and be able to discuss character and characters’ experience of the event the same way the actor does.
Here’s an acting class with Uta Hagen who lets the actors analyse their own performance and then discusses the scene – using emotions in the performance and how characters express what they’re going through. In a way, every writer is an actor because s/he should live through the character’s experience the same way an actor does.
Screenwriter on the Web
In his own words: Writer of cinematic penny dreadfuls. And occasional twitterer @twatterer Represented in the UK by Linda Seifert Management, in the US by Luber Roklin Entertainment.
iPhone apps for Writers from Appadvice
@TheLCW – The London Comedy Writers are a group of Comedy Writers who meet up in London
Follow tweets for lots of industry information and writing opportunities (not just comedy).
‘I approach the fantasy in the same way that I do the reality, that is to say that the actors have to ground their work in something emotionally recognisable. It has to feel real. Just in the same way that when we dream if anything in it feels real, terrifyingly real, or joyfully real, it is always grounded in something that is emotionally accessible.’