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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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

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Apoptosis

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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

Ostrich

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