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camera. I have a very exclusive and demanding relationship with it' (Ungari, 1982:117).(1) Nevertheless the key contribution that Storaro made to the ambience and aesthetics of several films - from The Spider's Stratagem onwards - will be discussed in the relevant chapters, together with the strategic input that Franco Arcalli, Mark Peploe and Ferdinando Scarfiotti also gave to Bertolucci's film-making. This study focuses on all Bertolucci's feature films, from The Grim Reaper to The Dreamers. The documentaries that the director made will be mentioned only in the filmography, due to notable differences in their construction and the different mode of reception intended, compared with feature-length fiction films. Agonia (1967-69) - a short film which the director contributed to the collective work Vangelo 70, and later distributed with the title Amore e rabbia seems to have a marginal relation with Bertolucci's production, although it will be discussed on account of the influence that the encounter between Bertolucci and The Living Theatre had on the making of Partner. Bertolucci's later short film, Histoire d'eaux, for the collective film Ten Minutes Older (2002), will be discussed in the Conclusion. It is appropriate at this point to include a brief overview of cognitive/affective approaches to film viewing in order to outline, at this point of the introduction, how this volume differs from existing scholarship on Bertolucci; a more detailed discussion of the applications of cognitive and affective theory will form the basis of the theoretical framework later in this study. Cognitive/affective approaches to film posit that viewers watch films in a conscious state, actively evaluating characters and situations with the help of emotional reactions to what they see, and then elaborating hypotheses about the actions that characters will take and expectations regarding plot development. In this context, psychoanalytical notions such as unconscious drives recede in importance; cognitive/affective theory privileges the viewer's conscious engagement with presentations of character and situation, and with elements of the mise-en-scene. The theories of Torben Grodal underpin this study, concepts which
foreground a reception process in which cognition and emotion interact. His concepts are central to this volume's purpose of tracing how Bertolucci's films create viewing experiences where emotional, cognitive and intellectual components overlap, each conditioning the others. Similarly, Murray Smith's work on the different degrees of viewer identification with characters in fiction films - attachments which also involve a cognitive/affective process - sheds light on how viewers (fail to) form attachments to Bertolucci's characters. Noel Carroll's writings on how emotional states in films are governed by cognitive assessments of given situations, such as the way a person's/viewer's evaluation of situational elements implying danger will trigger fear, are significant for Bertolucci's work; similarly, his discussion of the kpre-digested' quality of emotions in some fiction films, where certain scenes are served up to viewers as emotional 'set pieces' with a directorial expectancy (which is sometimes mistaken) that they will trigger certain reactions from viewers, sheds further light on the difficulty of viewers in developing compassion towards some of Bertolucci's protagonists. A further component of the affective element of the director's films, the importance of mood in film structures, will draw on studies by Greg Smith; similarly, the volume will also reference Berys Gaut and Carl Plantinga with regard to the use of bodily posture, facial close- ups and facial reaction shots of characters to create empathy. The study's exploration of the ways in which Bertolucci's films elicit cognitive forms of engagement from viewers by manipulating narrative components such as a film's temporal structure or by unconventional use of elements of the mise-en-scene will draw on the work of scholars such as David Bordwell and Edward Branigan. Therefore, in order to examine the engaging, absorbing and sometimes disconcerting viewing experiences elicited by Bertolucci's films, the present study adopts theoretical approaches that have not previously been applied to the director's output
- Page 1 and 2: Emotion and Cognition in the Films
- Page 3 and 4: Contents Acknowledgements 1 Abstrac
- Page 5 and 6: Acknowledgements I am very grateful
- Page 7 and 8: INTRODUCTION Over the past five dec
- Page 9 and 10: moods punctuated by emotional pheno
- Page 11: comprehensible why a nation that de
- Page 15 and 16: LITERATURE REVIEW While this study
- Page 17 and 18: film for 'jealous cinephiles or, mo
- Page 19 and 20: together' (Ungari, 1982: 51). This
- Page 21 and 22: Canby implicitly agrees with Cineas
- Page 23 and 24: it is Last Tango in Paris, and in t
- Page 25 and 26: e attributed to Paul's abolition of
- Page 27 and 28: Petri, who - in 1972 - talking abou
- Page 29 and 30: twofold aim of offering viewers sop
- Page 31 and 32: Maraini, D. (1973) 'Who were you?',
- Page 33 and 34: In discussing different narrative t
- Page 35 and 36: outcomes. The viewer and character
- Page 37 and 38: information to which the character
- Page 39 and 40: emotional state that the individual
- Page 41 and 42: opera houses in Before the Revoluti
- Page 43 and 44: manipulation, Bordwell analyses the
- Page 45 and 46: narrative schema clarifies how we o
- Page 47 and 48: to the point of drawing the spectat
- Page 49 and 50: for granted, in a 'slightly hazardo
- Page 51 and 52: passive emotionalism' (Sterritt, 19
- Page 53 and 54: Godard's approach from Bertolucci's
- Page 55 and 56: characters being stimulated into ta
- Page 57 and 58: apolitical art' in La Chinoise (p.
- Page 59 and 60: SECTION 1; Pessimism and Melancholi
- Page 61 and 62: La commare secca/The Grim Reaper: A
foreground a reception process in which cognition and emotion interact. His concepts are<br />
central to this volume's purpose <strong>of</strong> tracing how Bertolucci's films create viewing experiences<br />
where emotional, cognitive and intellectual components overlap, each conditioning the<br />
others. Similarly, Murray Smith's work on the different degrees <strong>of</strong> viewer identification with<br />
characters in fiction films - attachments which also involve a cognitive/affective process -<br />
sheds light on how viewers (fail to) form attachments to Bertolucci's characters. Noel<br />
Carroll's writings on how emotional states in films are governed by cognitive assessments <strong>of</strong><br />
given situations, such as the way a person's/viewer's evaluation <strong>of</strong> situational elements<br />
implying danger will trigger fear, are significant for Bertolucci's work; similarly, his<br />
discussion <strong>of</strong> the kpre-digested' quality <strong>of</strong> emotions in some fiction films, where certain<br />
scenes are served up to viewers as emotional 'set pieces' with a directorial expectancy (which<br />
is sometimes mistaken) that they will trigger certain reactions from viewers, sheds further<br />
light on the difficulty <strong>of</strong> viewers in developing compassion towards some <strong>of</strong> Bertolucci's<br />
protagonists.<br />
A further component <strong>of</strong> the affective element <strong>of</strong> the director's films, the importance <strong>of</strong><br />
mood in film structures, will draw on studies by Greg Smith; similarly, the volume will also<br />
reference Berys Gaut and Carl Plantinga with regard to the use <strong>of</strong> bodily posture, facial close-<br />
ups and facial reaction shots <strong>of</strong> characters to create empathy. The study's exploration <strong>of</strong> the<br />
ways in which Bertolucci's films elicit cognitive forms <strong>of</strong> engagement from viewers by<br />
manipulating narrative components such as a film's temporal structure or by unconventional<br />
use <strong>of</strong> elements <strong>of</strong> the mise-en-scene will draw on the work <strong>of</strong> scholars such as David<br />
Bordwell and Edward Branigan. Therefore, in order to examine the engaging, absorbing and<br />
sometimes disconcerting viewing experiences elicited by Bertolucci's films, the present study<br />
adopts theoretical approaches that have not previously been applied to the director's output
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