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GLOSSARY Alignment: The process by which viewers engage with screen characters, via spatio-temporal attachments and/or subjective access. Allegiance: The process by which viewers morally evaluate screen characters, ranking them in a system of preference, and forming attachments to given characters. Autonomic: Reactions based on non-voluntary mechanisms (supported by the autonomic nervous system) like laughter, crying, shivering. Bottom-up: The process by which viewers organize the data perceived on screen, with little input from their associated memories. Canonical narration: A narration following a linear chain of cause and effect. Cognitive identification: The process by which viewers participate in constructed fiction, by identifying with characters on the basis of recognizing the characters' motivations, a process also involving the emotions generated by this identification. Diegetic narration: The presentation of information internal to the fictive world. Distributed narration: A narration where the information is disclosed intermittently. Downstream: The perception of images and sounds on screen which induce affective reactions within viewers and activate hypotheses regarding possible actions. Epistemic identification: The process by which viewers imagine believing what a screen character believes, based on a shared perception or knowledge of events. External focalization: The process by which the narration depicts an action through a character's subjectivity, but integrated by another subjectivity, often connected to that of the implied author. Intensities: The 'emotional' tones connected to the activation of vivid perceptions. Internal focalization: The process by which the narration depicts an action through a character's subjectivity. Narration: The way in which the story is presented. Narrative: The story. Non-diegetic narration: The presentation of information made available only to viewers. Non-focalization: The process by which a narration simply depicts screen events, without the information being filtered through any intra or extra diegetic subjectivity. 336
Oneiric: The depiction of dream-like states. Paratelic: A narration modality focusing on processes rather than on the achievement of goals. Perceptual identification: The process by which the viewer sees what the character sees, instantiated by the POV shot as well as by the face-reaction shot. Pro-attitude: The viewer s concern for characters or situations. Procedural schemata: A narration requiring a search for motivations and for relations between space, causality and time. Reality-status: The extent to which a given screen action or phenomenon reflects authentic human experience. Recognition: The process by which viewers identify and construct screen characters' traits according to real life experience. Retardation: The process by which narrative information is delayed. Saturation: The viewer's experience of emotions connected to the activation of mental associations. Telic: A narration modality focusing on goal orientation. Top-down: The process by which viewers organize the screen data on the basis of their acquired knowledge and mental schemas. Upstream: The process by which the viewers' perception of forms and movements on screen is blurred or blocked. 337
- Page 289 and 290: That this sequence was written, pro
- Page 291 and 292: of Caterina discovering Joe's drug
- Page 293 and 294: on different types of meat. The bar
- Page 295 and 296: was considered to be Bertolucci's r
- Page 297 and 298: Hope, W. (2006) Giuseppe Tornatore,
- Page 299 and 300: of their 'elder sisters'. In a broa
- Page 301 and 302: she slowly changes position. Both s
- Page 303 and 304: evolve (M. Smith, 1995: 84-85). The
- Page 305 and 306: any allegiance towards the characte
- Page 307 and 308: the 'elder sister' is also unsatisf
- Page 309 and 310: omantic fulfilment. The author as o
- Page 311 and 312: striking garden whose colours natur
- Page 313 and 314: life revitalized. Diane rediscovers
- Page 315 and 316: L 'assedio I Besieged: A Cognitive
- Page 317 and 318: on the dusty road, while the priest
- Page 319 and 320: elongings, and his silent, secretiv
- Page 321 and 322: individuals like Shandurai in Italy
- Page 323 and 324: other' as opposed to the individual
- Page 325 and 326: (Loshitsky, 2010: 90-93) via argume
- Page 327 and 328: create different artistic effects,
- Page 329 and 330: The use of different film speeds an
- Page 331 and 332: unfolded by the narrative until tha
- Page 333 and 334: CONCLUSION This project's aim has b
- Page 335 and 336: had much to teach him, and his reso
- Page 337 and 338: and confusing experience for mainst
- Page 339: within Italian cinema has not been
- Page 343 and 344: Bertolucci, B. (2002) 'Bertolucci i
- Page 345 and 346: Grodal, T. (1999) 'Emotions, Cognit
- Page 347 and 348: Orwell, G. (1949) Nineteen Eighty-F
- Page 349 and 350: Willett, J. (ed.) (1992) Brecht on
- Page 351 and 352: Cinematography: Giovanni Narzisi; P
- Page 353 and 354: Editing: Gabriella Cristiani; Music
- Page 355 and 356: SELECT FILMOGRAPHY A bout de souffl
- Page 357 and 358: Rashomon, Akira Kurosawa, 1951. Rat
Oneiric: The depiction <strong>of</strong> dream-like states.<br />
Paratelic: A narration modality focusing on processes rather than on the achievement <strong>of</strong><br />
goals.<br />
Perceptual identification: The process by which the viewer sees what the character sees,<br />
instantiated by the POV shot as well as by the face-reaction shot.<br />
Pro-attitude: The viewer s concern for characters or situations.<br />
Procedural schemata: A narration requiring a search for motivations and for relations<br />
between space, causality and time.<br />
Reality-status: The extent to which a given screen action or phenomenon reflects authentic<br />
human experience.<br />
Recognition: The process by which viewers identify and construct screen characters' traits<br />
according to real life experience.<br />
Retardation: The process by which narrative information is delayed.<br />
Saturation: The viewer's experience <strong>of</strong> emotions connected to the activation <strong>of</strong> mental<br />
associations.<br />
Telic: A narration modality focusing on goal orientation.<br />
Top-down: The process by which viewers organize the screen data on the basis <strong>of</strong> their<br />
acquired knowledge and mental schemas.<br />
Upstream: The process by which the viewers' perception <strong>of</strong> forms and movements on screen<br />
is blurred or blocked.<br />
337
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