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Emotion and Cognition in the Films
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Contents Acknowledgements 1 Abstrac
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Acknowledgements I am very grateful
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INTRODUCTION Over the past five dec
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moods punctuated by emotional pheno
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comprehensible why a nation that de
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foreground a reception process in w
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LITERATURE REVIEW While this study
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film for 'jealous cinephiles or, mo
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together' (Ungari, 1982: 51). This
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Canby implicitly agrees with Cineas
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it is Last Tango in Paris, and in t
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e attributed to Paul's abolition of
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Petri, who - in 1972 - talking abou
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twofold aim of offering viewers sop
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Maraini, D. (1973) 'Who were you?',
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In discussing different narrative t
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outcomes. The viewer and character
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information to which the character
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emotional state that the individual
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opera houses in Before the Revoluti
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manipulation, Bordwell analyses the
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narrative schema clarifies how we o
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to the point of drawing the spectat
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for granted, in a 'slightly hazardo
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passive emotionalism' (Sterritt, 19
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Godard's approach from Bertolucci's
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characters being stimulated into ta
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apolitical art' in La Chinoise (p.
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SECTION 1; Pessimism and Melancholi
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La commare secca/The Grim Reaper: A
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the film. Several of the suspects a
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to reduce realism in favour of an a
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giant publicity poster for the aper
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mark out the sequence as significan
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emphasizes his youth and simple nat
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The camera movement and the frame c
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Smith, G. M. (1999) 'Local Emotions
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of respectability. Inspired by Cesa
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film is/was viewed, the goal orient
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viewers identify complicated intert
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diegetic sound, since, except for t
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audiovisual construction of the ope
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evocative representations of landsc
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Another example of this phenomenon
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La stratesia del raeno/The Spider's
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director launching 'a critique from
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possible to understand 'how the mod
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The peak of this integration is rea
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phase of his inquiries becomes clou
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Bertolucci praises Storaro's sensit
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on their shoulders the head of the
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The emotional quality of the musica
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Notes References Regarding the fail
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La trasedia di un uomo ridicolo / T
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the socio-political composition of
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emerge in Bocca's reconstruction of
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Elitism, ascetism and emotional rep
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dangerous estrangement from the rea
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abandons any attempt to understand
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with Adelfo and Laura, Primo is sur
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spatio-temporal attachment to Primo
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manages to expand the flimsy substa
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Moravia, A. (1971) lo e lui, (1990)
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established in Tango. Yet the analy
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evidently designed to push the boun
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inging to contemporary Italian soci
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said he was inspired by the Third C
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creation of Expressionist theatre w
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The Godardian scheme Partner's debt
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scene of Clara's murder by the doub
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scene, since objects indexed by the
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conventional art, the injustices of
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Bertolucci, B. (1967) 'Versus Godar
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compositions; the outcome is a dens
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Like Pirandello's protagonists, Pau
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Winston and Julia establish a lovin
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the character might be perceived po
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Another scene that creates a tense
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that the quotient of sexuality will
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from peculiar angles, sometimes thr
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also cue a sense of cold unresponsi
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2. 'Holy family, church of good cit
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easoned, 'great movies of the past,
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it towards the images being splashe
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when, in voiceover, he recollects:
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to one of the character's parents a
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Sexuality and shifts of subjectivit
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nudity, commodified on to celluloid
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notion that 'Decadence cultivates a
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engaging. Unfortunately the core of
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Section Three: Between History and
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II conformista/The Conformist: The
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to the female protagonists Severine
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constitute an example of the femme
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- Page 259 and 260: is conveyed by Port's bleak awarene
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on different types of meat. The bar
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was considered to be Bertolucci's r
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Hope, W. (2006) Giuseppe Tornatore,
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of their 'elder sisters'. In a broa
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she slowly changes position. Both s
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evolve (M. Smith, 1995: 84-85). The
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any allegiance towards the characte
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the 'elder sister' is also unsatisf
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omantic fulfilment. The author as o
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striking garden whose colours natur
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life revitalized. Diane rediscovers
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L 'assedio I Besieged: A Cognitive
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on the dusty road, while the priest
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elongings, and his silent, secretiv
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individuals like Shandurai in Italy
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other' as opposed to the individual
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(Loshitsky, 2010: 90-93) via argume
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create different artistic effects,
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The use of different film speeds an
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unfolded by the narrative until tha
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CONCLUSION This project's aim has b
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had much to teach him, and his reso
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and confusing experience for mainst
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within Italian cinema has not been
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Oneiric: The depiction of dream-lik
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Bertolucci, B. (2002) 'Bertolucci i
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Grodal, T. (1999) 'Emotions, Cognit
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Orwell, G. (1949) Nineteen Eighty-F
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Willett, J. (ed.) (1992) Brecht on
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Cinematography: Giovanni Narzisi; P
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Editing: Gabriella Cristiani; Music
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SELECT FILMOGRAPHY A bout de souffl
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Rashomon, Akira Kurosawa, 1951. Rat