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

Director of classics, theorist of montage, master of the mass epic, purveyor of Soviet realism in the midst of perilous political reality: Sergei Eisenstein is possibly the key figure in film history. In "The Cinema of Eisenstein" David Bordwell takes the full measure of this filmmaker's accomplishments. Bordwell gives a complete account of Eisenstein's distinctive contributions to the art, theory and history of cinema. He takes the reader from the first silent film, "Strike", made in the upheaval of postrevolutionary Russia, through "Potemkin" and "Ten Days That Shook the World" and on to "Alexander Nevsky" which won the Order of Lenin, to the last banned part of the diptych "Ivan the Terrible". Discussing each in detail, Bordwell points out the traces of various artistic currents of the times, from Marxist Modernism to Socialist Realism to Symbolist poetics, as well as the changing influence of Soviet politics. He guides the reader through Eisenstein's theoretical writings, including major texts that have only recently appeared in English. With close attention to the texture of the filmmaker's thought and work, Bordwell uncovers new depths of artistry and implications for the the

The cinema of Eisenstein

Acknowledgments 1. Staging and Style 2. Feuillade, or Storytelling 3. Mizoguchi, or Modulation 4. Angelopoulos, or Melancholy 5. Hou, or Constraints 6. Staging and Stylistics Notes Index

Figures Traced in Light: On Cinematic Staging

Blending unconventional film theory with nontraditional psychology to provide a radically different set of critical methods and propositions about cinema, "Moving Image Theory: Ecological Considerations" looks at film through its communication properties rather than its social or political implications. Drawing on the tenets of James J. Gibson s ecological theory of visual perception, the fifteen essays and forty-one illustrations gathered here by editors Joseph D. Anderson and Barbara Fisher Anderson offer a new understanding of how moving images are seen and understood.Focusing on a more straightforward perception of the world and cinema in an attempt to move film theory closer to reality, "Moving Image Theory" proposes that we should first understand how cinema communicates information about the representation of the three-dimensional world through properties of image and sound."

David Bordwell

Papers

The cinema of Eisenstein

Figures Traced in Light: On Cinematic Staging

Moving Image Theory: Ecological Considerations

The films of Carl-Theodor Dreyer

Space and Narrative in the Films of Ozu