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

Shared Pleasures: A History Of Movie Presentation In The United States

The classical Hollywood cinema

The Art Cinema as a Mode of Film Practice

a de topoi narrativos (por ejemplo, un hombre intenta persuadir a una mujer de que parta con él). A este respecto, el filme se basa en lo que Stephen Heath llama el característico bricolage de Robbe-Grillet con «elementos MODOS HISTÓRICOS DE NARRACIÓN sintagmáticos de la narrativa tradicional»." Al mismo tiempo, El año pasado en Marienbad eleva varias características estilísticas al nivel de estructuras intermitentemente dominantes: la separación de la imagen del sonido, el uso de falsos emparejamientos en los ejes de mirada y en la acción, el rechazo de los movimientos de cámara para seguir la acción o para revelar un espacio coherente fuera de la pantalla." ~lfilroe, en consecuencia, aborda el argumento y el estilo como organizaciones de eleIl:le.ot()§ diVersos-firosy que circulan a través del text<:<-sugiriendo un mundode la historia coherente, mientras una y otra vez_ niegan que cualquier entidad como ésta pueda construirse. Lo que El año pasado en Marienbad fue para el nouveau roman, lo constituyó ftrHdjterral1ie (1963) para el grupo Tel Quel. Pocas películas han sido tan poco vistas y tan frecuentemente citadas. Como El año pasado en Marienbad, Méditerranée resulta de una colaboración, en este caso entre el poeta y, novelista Philippe Sollers y ,el cineasta Jean-Daniel P¿lIet. El filme consiste en 261 planos breves, pasajes musicales y un comentario poético de SolIers. La banda visual se basa en un pequeño conjunto de elementos: el mar, estatuas, pirámides, ruinas, un lingote forjado en una fábrica, un jardín, una corrida de toros, una mujer en una mesa de operaciones, etc. La mayoría de los planos son tópicos de «lo mediterráneo», y es parte del objetivo del filme recombinar imágenes de forma que se vacíen de sus asociaciones estereotipadas. Los seguidores de Tel Quel alabaron el filme como un texto «abierto» organizado totalmente como un juego de significantes, y PolIet sugirió que el filme estaba compuesto por permutaciones de series." Méditerranée, pues, opera con una forma espacializada en su totalidad, situándose, según Sollers, dentro del cine de «presencia diferenciada»: «presencia literal pero parcial, una presencia que presenta una ausencia y, aquí, un filme que manifiesta otro invisible, cuya voz infundida en el filme marca las fluctuaciones»." Tanto El año pasado en Marienbad como Méditerranée se realizaron con total conciencia de la estética serialista. Queda por mostrar que esta estética pueda aplicarse a filmes que no tengan influencia directa de la literatura o la música experimental. En 1967, Noel Burch publicó diversos artículos en Cahiers d~-;;¡;'¿~aque más-tarde se recopilaron en~Cvcl~~~~-Praxisdel cine (1969). ~~t()s es-

La narración en el cine de ficción

Over the last two decades, Yasujiro Ozu has won international recognition as a major filmmaker. Combining biographical information with discussions of the films' aesthetic strategies and cultural significance, David Bordwell questions the popular image of Ozu as the traditional Japanese artisan and examines the aesthetic nature and functions of his cinema.

David Bordwell

Papers

Shared Pleasures: A History Of Movie Presentation In The United States

The classical Hollywood cinema

The Art Cinema as a Mode of Film Practice

La narración en el cine de ficción

Ozu and the poetics of cinema