Titlebook: Empathetic Space on Screen; Constructing Powerfu Amedeo D‘Adamo Textbook 2018 The Editor(s) (if applicable) and The Author(s) 2018 empathet

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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.

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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.

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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.

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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.

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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.

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