標(biāo)題: Titlebook: Empathetic Space on Screen; Constructing Powerfu Amedeo D‘Adamo Textbook 2018 The Editor(s) (if applicable) and The Author(s) 2018 empathet [打印本頁] 作者: SORB 時間: 2025-3-21 17:26
書目名稱Empathetic Space on Screen影響因子(影響力)
書目名稱Empathetic Space on Screen影響因子(影響力)學(xué)科排名
書目名稱Empathetic Space on Screen網(wǎng)絡(luò)公開度
書目名稱Empathetic Space on Screen網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Empathetic Space on Screen被引頻次
書目名稱Empathetic Space on Screen被引頻次學(xué)科排名
書目名稱Empathetic Space on Screen年度引用
書目名稱Empathetic Space on Screen年度引用學(xué)科排名
書目名稱Empathetic Space on Screen讀者反饋
書目名稱Empathetic Space on Screen讀者反饋學(xué)科排名
作者: GRAZE 時間: 2025-3-21 20:22
E. Mutschler,D. Stalleicken,H. T. Schneiderracing this figure through a history of representations and exposing its potential as a social force and as a unique empathetic agent in narrative and space. And while Dantean space has often tied empathy to guilt and bitterness, the fresh perspective of Ecstatic space opens up the ignored and compl作者: orient 時間: 2025-3-22 03:29
Escaping Dantean Space: On Creating Zones of Care in the Biography of St. Teresa, in Marble and Make作者: 多山 時間: 2025-3-22 06:23 作者: 障礙 時間: 2025-3-22 10:05 作者: Ancillary 時間: 2025-3-22 14:20 作者: Ancillary 時間: 2025-3-22 17:23 作者: 道學(xué)氣 時間: 2025-3-23 00:49
https://doi.org/10.1057/9780312299262aditionally DisPassionate characters, from Spiderman to James Bond to Sherlock Holmes, have acquired dramatic internal goals while Dramatic characters and spaces have increasingly migrated from the big screen to small-screen outlets.作者: 是他笨 時間: 2025-3-23 03:37
https://doi.org/10.1007/978-3-642-87806-0e carry a sense of self that necessarily imposes certain forms of alienation, teaching us to see ourselves and others in a specifically anti-social way? What are the effects of consuming narratives that deploy Dantean space? In short, is Dantean space bad for us?作者: Confess 時間: 2025-3-23 06:20 作者: 預(yù)防注射 時間: 2025-3-23 13:09 作者: Inflamed 時間: 2025-3-23 17:32
Jonathan Clavell-Hernández,Run Wangnarrative architecture that make a kind of ascending ladder of emotional and empathetic involvement between protagonist, setting and viewers. This account helps reveal the intersection of narrative space and empathy as well as the cues, materials and production design techniques commonly used to create these spaces across Media forms.作者: Parley 時間: 2025-3-23 21:49
Oggetti, trasformazioni, eventi e forme,d as a young woman on her wedding day, for decades she lives in her tattered wedding dress in her dark grand parlor with the table still laden with the rotting wedding feast. Examples of Dantean Space include ., and Nolan’s . trilogy.作者: SIT 時間: 2025-3-23 22:30 作者: 流出 時間: 2025-3-24 05:26 作者: VAN 時間: 2025-3-24 09:47
Pensions: More Information, Less Ideologynd the film . offer . whose inner conflict can be interpreted in two ways, and that this prismatic nature also makes the spaces of these narratives prismatic, making us unsure at times whether they are real or are projections of the person’s own conflicted character.作者: 統(tǒng)治人類 時間: 2025-3-24 11:28
https://doi.org/10.1007/978-3-642-85432-3characters who pursue largely external goals, a very different effect happens when these same attributes appear in films and television shows with Dramatic characters who possess inner conflicts. In ., ., . and . similar alienation devices instead convey a inner lack, despair and need specific to and reflecting the story’s protagonist.作者: 我吃花盤旋 時間: 2025-3-24 16:07 作者: AFFIX 時間: 2025-3-24 21:02
The Frozen Ones: Dantean Moments, Characters and Space in the films ,, , and Othersd as a young woman on her wedding day, for decades she lives in her tattered wedding dress in her dark grand parlor with the table still laden with the rotting wedding feast. Examples of Dantean Space include ., and Nolan’s . trilogy.作者: 有雜色 時間: 2025-3-24 23:56 作者: forecast 時間: 2025-3-25 06:06 作者: 澄清 時間: 2025-3-25 11:03
On Collapsing Boundaries Between Protagonist and Antagonist: Dante’s Tricks and Others in , and , annd the film . offer . whose inner conflict can be interpreted in two ways, and that this prismatic nature also makes the spaces of these narratives prismatic, making us unsure at times whether they are real or are projections of the person’s own conflicted character.作者: dyspareunia 時間: 2025-3-25 14:35
Alienated Spaces: DeathStarchitecture in ,, Bleached Space and Dialogue in ,, Showroom Space in , ancharacters who pursue largely external goals, a very different effect happens when these same attributes appear in films and television shows with Dramatic characters who possess inner conflicts. In ., ., . and . similar alienation devices instead convey a inner lack, despair and need specific to and reflecting the story’s protagonist.作者: 錯誤 時間: 2025-3-25 16:32
The Library of All Stories: Purgatory, Therapy and Character Arcs in Dante and in , and ,, in Camus’En-Scene of a film or television show. This shows how framing can link many otherwise disparate elements in a film to communicate deep empathetic aspects of a character’s relationship to her space: this is illustrated in the film .. We then use these tools to examine Poe’s Dantean short stories, Murnau’s film . and the Dantean Spaces of ..作者: 利用 時間: 2025-3-25 22:47 作者: debble 時間: 2025-3-26 03:24 作者: acetylcholine 時間: 2025-3-26 04:27
The Empty Man of Action vs. The Active Heart: Dispassionate and Dramatic Characters from , and , to external goals and lack intimacy, which limits their empathetic response while pushing their Spaces towards spectacular adrenalynic engines. By contrast . (the most common form of character) possess both external and internal goals. In Dramatic characters internal conflicts create the possibilities作者: abracadabra 時間: 2025-3-26 09:03
The Frozen Ones: Dantean Moments, Characters and Space in the films ,, , and Othersigh emotional intensity that connects him to a place and time who then perceives the world and behaves as if still partly stuck in that experience. A Dantean space is a subjective narrative space that is both in the present and also in some sense imbued with a past experience so that it reveals the 作者: Proclaim 時間: 2025-3-26 14:43 作者: 猛擊 時間: 2025-3-26 18:23
The Library of All Stories: Purgatory, Therapy and Character Arcs in Dante and in , and ,, in Camus’comes after which a character has no character arc change). Through comparing Camus’ . to the film ., we distinguish. from., then make the different distinction between. and. hells. A typology of framing techniques is proposed that reveals how a character’s struggle is realized spatially in the Mis-作者: 史前 時間: 2025-3-27 00:39 作者: Bone-Scan 時間: 2025-3-27 03:05 作者: Prostaglandins 時間: 2025-3-27 08:28
Alienated Spaces: DeathStarchitecture in ,, Bleached Space and Dialogue in ,, Showroom Space in , anrg, four attributes of DeathStarchitecture are identified that contrast this space with those of Rebel zones to create a DisPassionate alienation that distinguishes the good from the bad guys. These attributes are: non-place with no memorable markers, highly-rationalized spaces of instrumentalism, s作者: photopsia 時間: 2025-3-27 12:35 作者: 尊敬 時間: 2025-3-27 14:31 作者: languor 時間: 2025-3-27 18:16
https://doi.org/10.1007/978-3-319-66772-0empathetic; dantean; space; cinema; TV; film; setting; place作者: miracle 時間: 2025-3-27 22:34
978-3-319-66771-3The Editor(s) (if applicable) and The Author(s) 2018作者: 憤世嫉俗者 時間: 2025-3-28 03:15
Amedeo D‘AdamoDeals with the emotional aspect of viewing films, focusing on well-known films that are particularly and popularly powerful.Accessible in three ways: in style, in content (being about popular films an作者: 極少 時間: 2025-3-28 07:40
http://image.papertrans.cn/e/image/308784.jpg作者: neoplasm 時間: 2025-3-28 13:40
Jonathan Clavell-Hernández,Run Wangtionship to the protagonist, the settings in such films as . and some television shows are heightened by and entangled with the protagonist’s emotional struggles, sharing a narrative architectural form we will call Dantean space. Examining that rush of feelings of such empathetic settings reveals te作者: DEMN 時間: 2025-3-28 18:23
https://doi.org/10.1057/9780312299262 external goals and lack intimacy, which limits their empathetic response while pushing their Spaces towards spectacular adrenalynic engines. By contrast . (the most common form of character) possess both external and internal goals. In Dramatic characters internal conflicts create the possibilities作者: 世俗 時間: 2025-3-28 22:28 作者: 免費 時間: 2025-3-29 01:47 作者: Apoptosis 時間: 2025-3-29 05:04 作者: perpetual 時間: 2025-3-29 10:52
https://doi.org/10.1007/978-1-4615-4527-9hosts are essentially characters with desires and memories who haunt a place or person and possess unworldly powers, and usually we see their faces. Shades, however, have a hauntological force and presence and their faces are usually not seen clearly in the narrative: instead they hold the power to 作者: Ostrich 時間: 2025-3-29 13:54
Pensions: More Information, Less Ideologyin . but also offering examples from Dante, the analysis shows how the conventional cinematic boundaries that mark time and space, self and environment, source and score and musical perspective are all often broken in Dantean spaces. After an overview of such techniques in narrative documentaries su
