Cinema has the capacity to enflame our passions, to arouse our pity, to inspire our love. Feeling Film is a book that examines the emotional encounters found in contemporary popular cinema cultures. Examining melodrama, film noir, comic book franchises, cult indie movies and romantic comedy within the context of a Jungian-informed psychology and contemporary movements in film-philosophy, this book considers the various kinds of feelings engendered by our everyday engagements with cinema. Greg Singh questions the popular idea of what cinema is, and considers what happens during the anticipation and act of watching a movie, through to the act of sharing our feelings about them, the reviewing process and repeat-viewing practices. Feeling Film does this through a critique of purely textual approaches, instead offering a model which emphasises lived, warm (embodied and inhabited) psychological relationships between the viewer and the viewed. It extends the narrative action of cinema beyond the duration of the screening into realms of anticipation and afterlife, in particular providing insight into the tertiary and participatory practices afforded through rich media engagement. In rethinking the everyday, co-productive relationship between viewer and viewed from this perspective, Feeling Film reinstates the importance of feelings as a central concern for film theory. What emerges from this study is a re-engagement of the place of emotion, affect and feeling in film theory and criticism. In reconsidering the duration of the cinematic encounter, Feeling Film makes a significant contribution to the understanding of the inter-subjective relationship between viewer and viewed. It takes post-Jungian criticism into the realms of post-cinema technologies and reignites the dialogue between depth psychology and the study of images as they appear to, and for, us. This book will make essential reading for those interested in the relationship between film and aspects of depth psychology, film and philosophy students at advanced undergraduate and postgraduate levels, film and cinema academics and cinephiles.

Cinema has the capacity to enflame our passions, to arouse our pity, to inspire our love. Feeling Film is a book that examines the emotional encounters found in contemporary popular cinema cultures. Examining melodrama, film noir, comic book franchises, cult indie movies and romantic comedy within the context of a Jungian-informed psychology and contemporary movements in film-philosophy, this book considers the various kinds of feelings engendered by our everyday engagements with cinema. Greg Singh questions the popular idea of what cinema is, and considers what happens during the anticipation and act of watching a movie, through to the act of sharing our feelings about them, the reviewing process and repeat-viewing practices. Feeling Film does this through a critique of purely textual approaches, instead offering a model which emphasises lived, warm (embodied and inhabited) psychological relationships between the viewer and the viewed. It extends the narrative action of cinema beyond the duration of the screening into realms of anticipation and afterlife, in particular providing insight into the tertiary and participatory practices afforded through rich media engagement. In rethinking the everyday, co-productive relationship between viewer and viewed from this perspective, Feeling Film reinstates the importance of feelings as a central concern for film theory. What emerges from this study is a re-engagement of the place of emotion, affect and feeling in film theory and criticism. In reconsidering the duration of the cinematic encounter, Feeling Film makes a significant contribution to the understanding of the inter-subjective relationship between viewer and viewed. It takes post-Jungian criticism into the realms of post-cinema technologies and reignites the dialogue between depth psychology and the study of images as they appear to, and for, us. This book will make essential reading for those interested in the relationship between film and aspects of depth psychology, film and philosophy students at advanced undergraduate and postgraduate levels, film and cinema academics and cinephiles.

Cinema has the capacity to enflame our passions, to arouse our pity, to inspire our love. Feeling Film is a book that examines the emotional encounters found in contemporary popular cinema cultures. Examining melodrama, film noir, comic book franchises, cult indie movies and romantic comedy within the context of a Jungian-informed psychology and contemporary movements in film-philosophy, this book considers the various kinds of feelings engendered by our everyday engagements with cinema. Greg Singh questions the popular idea of what cinema is, and considers what happens during the anticipation and act of watching a movie, through to the act of sharing our feelings about them, the reviewing process and repeat-viewing practices. Feeling Film does this through a critique of purely textual approaches, instead offering a model which emphasises lived, warm (embodied and inhabited) psychological relationships between the viewer and the viewed. It extends the narrative action of cinema beyond the duration of the screening into realms of anticipation and afterlife, in particular providing insight into the tertiary and participatory practices afforded through rich media engagement. In rethinking the everyday, co-productive relationship between viewer and viewed from this perspective, Feeling Film reinstates the importance of feelings as a central concern for film theory. What emerges from this study is a re-engagement of the place of emotion, affect and feeling in film theory and criticism. In reconsidering the duration of the cinematic encounter, Feeling Film makes a significant contribution to the understanding of the inter-subjective relationship between viewer and viewed. It takes post-Jungian criticism into the realms of post-cinema technologies and reignites the dialogue between depth psychology and the study of images as they appear to, and for, us. This book will make essential reading for those interested in the relationship between film and aspects of depth psychology, film and philosophy students at advanced undergraduate and postgraduate levels, film and cinema academics and cinephiles.

At the start of the twenty-first century challenges to the global hegemony of U.S. culture are more apparent than ever. Two of the contenders vying for the hearts, minds, bandwidths, and pocketbooks of the world’s consumers of culture (principally, popular culture) are India and South Korea. “Bollywood” and “Hallyu” are increasingly competing with “Hollywood”—either replacing it or filling a void in places where it never held sway. This critical multidisciplinary anthology places the mediascapes of India (the site of Bollywood), South Korea (fountainhead of Hallyu, aka the Korean Wave), and the United States (the site of Hollywood) in comparative dialogue to explore the transnational flows of technology, capital, and labor. It asks what sorts of political and economic shifts have occurred to make India and South Korea important alternative nodes of techno-cultural production, consumption, and contestation. By adopting comparative perspectives and mobile methodologies and linking popular culture to the industries that produce it as well as the industries it supports, Pop Empires connects films, music, television serials, stardom, and fandom to nation-building, diasporic identity formation, and transnational capital and labor. Additionally, via the juxtaposition of Bollywood and Hallyu, as not only synecdoches of national affiliation but also discursive case studies, the contributors examine how popular culture intersects with race, gender, and empire in relation to the global movement of peoples, goods, and ideas.

This volume explores the philosophical and metaphysical manifestations of contemporary cinema. Starting with the hypothesis that movies provide an experience that is both a pathway into the thinking mechanisms of modern humans and into our collective psyche, this study focuses on the elements that form the “Romanian cinematic mind” as part of the European cinema-thinking. While this book is based on specific case studies provided by recent productions in Romanian filmmaking, such as Proroca (2017) and Touch me Not (2018), it also contextualises the national cinema within the larger, European art of making movies. Offering close interpretations of the works of world-renowned directors like Cristi Puiu, Cristian Mungiu, Corneliu Porumboiu or more recently Adina Pintilie and Constantin Popescu, this book questions the “Romanianess” of their cinematic techniques, and places their philosophical roots both in a particular mode of thinking and within continental philosophy.

Cultural Feelings: Mood, Mediation and Cultural Politics sets out to examine the role of feelings and mood in the production of social and cultural experience. By returning to the work of Raymond Williams, and informed by recent ‘affect theory’, it treats feeling as a foundational term for cultural studies. Ben Highmore argues that feelings are political and cultural forms that orchestrate our encounters with the world. He utilises a range of case studies from twentieth-century British culture, focusing in particular on Home Front morale during the Blitz, the experiences of Caribbean migration in the post-war decades, the music of post-punk bands in the late 1970s and early 1980s, and more recent ‘state of the nation’ film and television, including Our Friends in the North and This is England. He finds evidence in oral history, in films, photographs, television, novels, music, policy documents, and journalism. Through these sources, this book tells a vivid and compelling story of our most recent history and argues that the urgent task for a progressive cultural politics will require the changing of moods as well as minds. Cultural Feelings is essential reading for students and researchers with an interest in affect theory, emotion and culture.

Emotion and Postmodernism: is it possible to imagine an odder couple, stranger bedfellows, less bad company? The Emotional Life of Postmodern Film brings this unlikely pair into sustained dialogue, arguing that the interdisciplinary body of scholarship currently emerging under the rubric of "affect theory" may be unexpectedly enriched by an encounter with the field that has become its critical other. Across a series of radical re-reappraisals of canonical postmodern texts, from Fredric Jameson's Postmodernism to David Cronenberg's Crash, Duncan shows that the same postmodern archive that has proven resistant to strongly subject-based and object-oriented emotions, like anger and sadness, proves all too congenial to a series of idiosyncratic, borderline emotions, from knowingness, fascination and bewilderment to boredom and euphoria. The analysis of these emotions, in turn, promises to shake up scholarly consensus on two key counts. On the one hand, it will restructure our sense of the place and role of emotion in a critical enterprise that has long cast it as the stodgy, subjective sister of a supposedly more critically interesting and politically productive affect. On the other, it will transform our perception of postmodernism as a now-historical aesthetic and theoretical moment, teaching us to acknowledge more explicitly and to name more clearly the emotional life that energizes it.