Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

This paper attempts to take the politics of affect as not just incidental but central to the life of cities, given that cities are thought of as inhuman or transhuman entities and that politics is understood as a process of community without unity. It is in three main parts. The first part sets out the main approaches to affect that conform with this approach. The second part considers the ways in which the systematic engineering of affect has become central to the political life of Euro‐American cities, and why. The third part then sets out the different kinds of progressive politics that might become possible once affect is taken into account. There are some brief conclusions.

https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.0435-3684.2004.00154.x

Intensities of feeling: towards a spatial politics of affect

This article continues to operationally define and test the resource-based view of the firm in a study of the major U.S. film studios from 1936 to 1965. We found that property-based resources in th...

The Resource-Based View of the Firm in Two Environments: The Hollywood Film Studios From 1936 to 1965

How have changes in media affected our everyday experience, behavior, and sense of identity? Such questions have generated endless arguments and speculations, but no thinker has addressed the issue with such force and originality as Joshua Meyrowitz in No Sense of Place. Advancing a daring and sophisticated theory, Meyrowitz shows how television and other electronic media have created new social situations that are no longer shaped by where we are or who is "with" us. While other media experts have limited the debate to message content, Meyrowitz focuses on the ways in which changes in media rearrange "who knows what about whom" and "who knows what compared to whom," making it impossible for us to behave with each other in traditional ways. No Sense of Place explains how the electronic landscape has encouraged the development of: -More adultlike children and more childlike adults; -More career-oriented women and more family-oriented men; and -Leaders who try to act more like the "person next door" and real neighbors who want to have a greater say in local, national, and international affairs. The dramatic changes fostered by electronic media, notes Meyrowitz, are neither entirely good nor entirely bad. In some ways, we are returning to older, pre-literate forms of social behavior, becoming "hunters and gatherers of an information age." In other ways, we are rushing forward into a new social world. New media have helped to liberate many people from restrictive, place-defined roles, but the resulting heightened expectations have also led to new social tensions and frustrations. Once taken-for-granted behaviors are now subject to constant debate and negotiation. The book richly explicates the quadruple pun in its title: Changes in media transform how we sense information and how we make sense of our physical and social places in the world.

No sense of place : the impact of electronic media on socialbehavior

What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.

The Cambridge Introduction to Narrative

An excessively obvious cinema

Space in the classical film

Richness through Imperfection: King Hu and the Glimpse

Visual Style in Japanese Cinema, 1925–1945

My account of Rear Window does not constitute a critical interpretation. I have not labeled Jeff a voyeur, judged his peeping nice or naughty, or sought to establish him as a "castrated" adventurer fantasizing the dismembering of a woman's body. Indeed, my sketch is not even an analysis of the film, since specifying the spectator's activity cannot itself provide that. For the viewer, constructing the story takes precedence; the effects of the text are registered, but its causes go unremarked. This is not to say that these activities are, strictly speaking, unconscious; most work of narrative comprehension seems to occur in what Freud called the preconscious, the realm of elements "capable of entering consciousness." The spectator simply has no concepts or terms for the textual elements and systems that shape responses. It is the job of theory to construct them, the job of analysis to show them at work. A full theory of narration must be able to specify the objective devices and forms that elicit the spectator's activity. That is the task of this and the next three chapters. Theory must also go beyond the perceiver's relation to the text by situating the text within contexts of which the perceiver is seldom explicitly aware. These contexts are historical ones, and I shall consider those most pertinent to narration in Part 3. What an account of the spectator's work has taught us is that theory and analysis must explain not only localized effects but whole films, treating them as eliciting the spectator's ongoing construction of the story. Eisenstein's advice to his students holds good for the study of narration as textual form: "Think in stages of a process." From this chapter forward, my focus is on how film form and style function in relation to narrational strategies and ends. As an alternative, we could undertake empirical investigations of how actual spectators construe particular films. While worthwhile, this enterprise would not necessarily lead to insights into how films encourage, sustain, block, or undercut specific viewing operations. As I have said throughout, formal systems both cue and

David Bordwell

Papers

An excessively obvious cinema

Space in the classical film

Richness through Imperfection: King Hu and the Glimpse

Visual Style in Japanese Cinema, 1925–1945

Principles of Narration