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oapen-20.500.12657-376012020-05-09T00:45:26Z Tempi der Bewegung – Modi des Gefühls Greifenstein, Sarah Affectivity comedy temporality bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies What is the connection between the tempo of audiovisual images and the audience`s emotional experience? Examining the screwball comedy of the 30s and 40s, this study looks at comedy and hilarity as temporal structures. Exchanges of blows, puns, and verbal acrobatics are embedded in a complex composition of voices, facial expressions, gestures, and visual constructions. The audience experiences and enjoys combat and rage as an elegant pas de deux. 2020-05-07T15:47:40Z 2020-05-07T15:47:40Z 2020 book Book_9783110519662_20200507_5 2509-4351 http://library.oapen.org/handle/20.500.12657/37601 ger Cinepoetics application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9783110519662.pdf http://www.degruyter.com/isbn/9783110519846 De Gruyter De Gruyter 10.1515/9783110519846 What is the connection between the tempo of audiovisual images and the audience`s emotional experience? Examining the screwball comedy of the 30s and 40s, this study looks at comedy and hilarity as temporal structures. Exchanges of blows, puns, and verbal acrobatics are embedded in a complex composition of voices, facial expressions, gestures, and visual constructions. The audience experiences and enjoys combat and rage as an elegant pas de deux. 10.1515/9783110519846 2b386f62-fc18-4108-bcf1-ade3ed4cf2f3 De Gruyter 5 333 Berlin/Boston open access
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What is the connection between the tempo of audiovisual images and the audience`s emotional experience? Examining the screwball comedy of the 30s and 40s, this study looks at comedy and hilarity as temporal structures. Exchanges of blows, puns, and verbal acrobatics are embedded in a complex composition of voices, facial expressions, gestures, and visual constructions. The audience experiences and enjoys combat and rage as an elegant pas de deux.
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