Hanich looks at fear at the movies – its aesthetics, its experience and its pleasures--in this thought-provoking study. Looking at over 150 different films including Seven, Rosemary's Baby, and Silence of the Lambs, Hanich attempts to answer the paradox of why we enjoy films that thrill us, that scare us, that threaten us, that shock us –affects that we otherwise desperately wish to avoid.

Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanichâe(tm)s path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewerâe(tm)s frightened experience. By drawing on prototypical scenes from horror films and thrillers like Rosemaryâe(tm)s Baby, The Silence of the Lambs, Seven and The Blair Witch Project, Hanich identifies five types of fear at the movies and thus provides a much more nuanced classification than previously at hand in film studies. His descriptions of how the five types of fear differ according to their bodily, temporal and social experience inside the auditorium entail a forceful plea for relying more strongly on phenomenology in the study of cinematic emotions. In so doing, this book opens up new ways of dealing with these emotions. Hanichâe(tm)s study does not stop at the level of fear in the movie theater, however, but puts the strong cinematic emotion against the backdrop of some of the most crucial developments of our modern world: disembodiment, acceleration and the loosening of social bonds. Hanich argues that the strong affective, temporal, and social experiences of frightening movies can be particularly pleasurable precisely because they help to counterbalance these ambivalent changes of modernity.

The movie theater has always been a place where people come together to share powerful emotional experiences, from the fear generated by horror films and the anxiety induced by thrillers to the laughter elicited by screwball comedies and the tears precipitated by melodramas. Indeed, the dependability of movies to provide such experiences lies at the center of the medium's appeal and power. Yet cinema's ability to influence, even manipulate, the emotions of the spectator is one of the least-explored topics in film theory today. In Passionate Views, thirteen internationally recognized scholars of film studies, philosophy, and psychology explore the emotional appeal of the cinema. Employing a novel cognitive perspective, the volume investigates the relationship between genre and emotion; explores how film narrative, music, and cinematic techniques such as the close-up are used to elicit emotion; and examines the spectator's identification with and response to film characters. An impressive range of films and topics is brought together by Carl Plantinga and Greg M. Smith, including: the success of Stella Dallas and An Affair to Remember as tearjerkers; the power of Night of the Living Dead to inspire fear and disgust; the sublime evoked in The Passion of Joan of Arc, Aguirre, the Wrath of God, and The Children of Paradise; the emotional basis of film comedy as seen in When Harry Met Sally; the use of cinematic cues in Raiders of the Lost Ark and Local Hero to arouse emotions; the relationship between narrative flow and emotion in Once Upon a Time in the West and E.T.; the emotive use of music in The Elephant Man and A Clockwork Orange; Stranger than Paradise's sense of timing; desire and resolution in Casablanca; audience identification with the main characters in Groundhog Day and The Crying Game; portrayal of perversity in The Silence of the Lambs, Flaming Creatures, and Shivers; and empathy elicited through closeups of actors' faces in Yankee Doodle Dandy and Blade Runner. Passionate Views offers a new approach to our understanding of film and will be of interest to anyone fascinated by the emotional power of motion pictures and their relationship to the central concerns of our lives, as well as by the techniques filmmakers use to move an audience.

Films evoke broad moods and cue particular emotions that can be broadly shared as well as individually experienced. Although the experience of emotion is central to the viewing of movies, film studies have neglected to focus attention on the emotions, relying instead on vague psychoanalytic concepts of desire. Movies, Emotion, and Mood synthesizes recent research on emotion in cognitive psychology and neurology in an effort to provide a more nuanced understanding of how film evokes emotion.

Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.

In this innovative book, Julian Hanich explores the subjectively lived experience of watching films together, to discover a fuller understanding of cinema as an art form and a social institution that matters to millions of people worldwide.

Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture. Through an in-depth discussion of mainstream Hollywood films, Plantinga investigates what he terms "the paradox of negative emotion" and the function of mainstream narratives as ritualistic fantasies. He describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes. He uses cognitive science and philosophical aesthetics to demonstrate why cinema may deliver a similar emotional charge for diverse audiences.