du.sePublications
Change search
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • chicago-author-date
  • chicago-note-bibliography
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Perceived values in contemporary Hollywood films: 309 young adults negotiating audiovisual representations of subjective life; virtues, flaws, desires & aspirations
Dalarna University, School of Humanities and Media Studies, Religious Studies.ORCID iD: 0000-0002-7883-3251
2012 (English)Conference paper, Oral presentation only (Refereed)
Abstract [en]

In this paper I present empirical findings from an ongoing project, “Spectator Engagement in film and utopian self-reflexivity. Moving images and moved minds” (The Swedish Research Council, 2011 – 2013). During 2011, 30910 questionnaires is were sampled 2011, among from students in of education, nursing, social care as well asand media.  In open ended questions these young adults in their twenties  give gave examples of contemporary film of personal importance dealing with life issues.  and sSome movies, such as Pulp Fiction (1994),  Shawshank Redemption (1994), Avatar (2009), Gladiator (2000) and Amelie from Montmartre (2001), attract a collective interest.  such as Donnie Darko, Amelie from Montmartre and Pulp Fiction. Examples of therespondentsrespondent’s statements about the kind of struggles in life these and other films evoke are dealt with from different theoretical perspectives.

 

The reported impact of specific movies is analyzed  throughanalyzed through theories about cognitive psychology (Plantinga 2011) as well as visual rethoricsrhetoric’s and the responding chord (Elmelund Kjeldsen 2008) where cognition and emotion are important aspects of the spectator’s’ relation to a film. Theseese analyszees of audiences responses of reading a film are put into the context of ‘the subjective turn’ in the sociology of religion as well as the changing conditions for the reflexive self in late modernity (Giddens 1991, McAdams 1993, Lynch 2007). Also how film viewing is able to elicit self-reflexive transformation processes (Bruun Vaage 2009, Plantinga 2009).

Place, publisher, year, edition, pages
2012. 15- p.
Keyword [en]
cognitive film theory, film characters, the subjective turn, the reflexive self, transformation, values, belief system, fictional narratives, engagement, emotion, cognition, spectators, audience, reception
National Category
Arts
Research subject
Intercultural Studies, Filmengagemang och självets utopiska reflexivitet - den rörliga bildens förmåga att beröra människa på djupet.; Intercultural Studies; Education and Learning
Identifiers
URN: urn:nbn:se:du-10560OAI: oai:DiVA.org:du-10560DiVA: diva2:545585
Conference
8th Conference of Media, Religion & Culture, 8 - 12th July, Anadolou University, Eskisehir, Turkey.
Projects
Vetenskapsrådet (2011 - 2013) Filmengagemang och självets utopiska reflexivitet. Om den rörliga bildens förmåga att beröra människan på djupet.Visuell kultur
Funder
Swedish Research Council
Available from: 2012-08-20 Created: 2012-08-20 Last updated: 2016-06-23Bibliographically approved

Open Access in DiVA

No full text

Search in DiVA

By author/editor
Axelson, Tomas
By organisation
Religious Studies
Arts

Search outside of DiVA

GoogleGoogle Scholar

Total: 746 hits
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • chicago-author-date
  • chicago-note-bibliography
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf