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

Classical narrative space and the spectator’s attention

The labor-force, financing and the mode of production

Eisenstein's Epistemology: A Response

Reply to Joseph P. Magliano and James A. Clinton, Paisley Livingston, and Brian Boyd

The Chase (1946), long celebrated as a boldly innovative film noir, poses many narrative inconsistencies typical of 1940s Hollywood. Several of those, including a disarming revelation of the protagonist’s dream, can be traced to indecisions during the production process. Using documents recording the decision-making process, the essay investigates the choices made, then partially withdrawn, in the course of scriptwriting, shooting, and editing. Not all anomalies are fully explained, but we now have a better sense of how 1940s filmmakers, striving to obey conventions and yet go beyond them, sometimes created ‘innovation by accident’.

David Bordwell

Papers

Classical narrative space and the spectator’s attention

The labor-force, financing and the mode of production

Eisenstein's Epistemology: A Response

Reply to Joseph P. Magliano and James A. Clinton, Paisley Livingston, and Brian Boyd

In Pursuit of The Chase