Top scholars from psychology, economics, sociology, business, and communications tackle key questions about the film experience. From a movie's creation to the audience's reaction to its eventual reception by critics and the box office, this book offers insights about all aspects of the movies based on cutting-edge research.
Top scholars from psychology, economics, sociology, business, and communications tackle key questions about the film experience. From a movie's creation to the audience's reaction to its eventual reception by critics and the box office, this book offers insights about all aspects of the movies based on cutting-edge research.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
James C. Kaufman, Ph.D., is Professor of Educational Psychology at the University of Connecticut. An international leader in the field of creativity, he has published 23 books and more than 200 papers. He is the president of the American Psychological Association's Division 10 (Aesthetics, Creativity, and the Arts) and the founding editor of Psychology of Popular Media Culture. Dean Keith Simonton, Ph.D., is Distinguished Professor of Psychology at the University of California, Davis. Internationally known for his research on genius, creativity, and leadership, he has produced over 450 publications that have received more than 11,000 citations, and 180 publications have been cited at least 10 times. He is the winner of APA's Division 46 Distinguished Scientific Contribution to Media Psychology. His Google Scholar h index is 51.
Inhaltsangabe
* Acknowledgements * Dedication * List of Contributors * Introduction: Social Science of the Cinema: Fade In * James C. Kaufman and Dean Keith Simonton * Section One: The Creation * 1. Writing for success: Screenplays and cinematic impact * Dean Keith Simonton * 2. Sell by date? Examining the shelf life and effects of female actors in popular films * Stacy L. Smith, Amy Granados, Marc Choueiti and Katherine M. Pieper * 3. Resolving the paradox of film music through a cognitive narrative approach to film comprehension * Annabel Cohen * Section Two: The Audience * 4. What type of movie person are you? Understanding individual differences in film preferences and uses: A psychographic approach * Tomas Chamorro-Premuzic, Andrea Kallias, and Anne Hsu * 5. Film through the human visual system: Finding patterns and limits * Jordan E. DeLong, Kaitlin L. Brunick, and James E. Cutting * 6. Self and the cinematic experience in the age of electronic transmission * Gerald C. Cupchik and Michelle C. Hilscher * Section Three: The Production * 7. The producer-director dyad: Managing the faultline between art and commerce * Joris J. Ebbers, Nachoem M. Wijnberg, and Pawan V. Bhansing * 8. Networks and rewards among Hollywood artists: Evidence for a social structural ordering of creativity * Gino Cattani and Simone Ferriani * 9. Strategic assets and performance across institutional environments * Allègre L. Hadida * Section Four: The Reception * 10. Analyzing the Academy Awards: Factors associated with winning and when surprises occur * Iain Pardoe and Dean Keith Simonton * 11. Responses to and judgments of acting on film * Thalia R. Goldstein * 12. As good as it gets? Blockbusters and the inequality of box office results since 1950 * Victor Fernandez-Blanco, Victor Ginsburgh, Juan Prieto-Rodriguez, and Sheila Weyers * End Section * 13. Social Science of the Cinema: Fade Out * Joshua Butler and James C. Kaufman
* Acknowledgements * Dedication * List of Contributors * Introduction: Social Science of the Cinema: Fade In * James C. Kaufman and Dean Keith Simonton * Section One: The Creation * 1. Writing for success: Screenplays and cinematic impact * Dean Keith Simonton * 2. Sell by date? Examining the shelf life and effects of female actors in popular films * Stacy L. Smith, Amy Granados, Marc Choueiti and Katherine M. Pieper * 3. Resolving the paradox of film music through a cognitive narrative approach to film comprehension * Annabel Cohen * Section Two: The Audience * 4. What type of movie person are you? Understanding individual differences in film preferences and uses: A psychographic approach * Tomas Chamorro-Premuzic, Andrea Kallias, and Anne Hsu * 5. Film through the human visual system: Finding patterns and limits * Jordan E. DeLong, Kaitlin L. Brunick, and James E. Cutting * 6. Self and the cinematic experience in the age of electronic transmission * Gerald C. Cupchik and Michelle C. Hilscher * Section Three: The Production * 7. The producer-director dyad: Managing the faultline between art and commerce * Joris J. Ebbers, Nachoem M. Wijnberg, and Pawan V. Bhansing * 8. Networks and rewards among Hollywood artists: Evidence for a social structural ordering of creativity * Gino Cattani and Simone Ferriani * 9. Strategic assets and performance across institutional environments * Allègre L. Hadida * Section Four: The Reception * 10. Analyzing the Academy Awards: Factors associated with winning and when surprises occur * Iain Pardoe and Dean Keith Simonton * 11. Responses to and judgments of acting on film * Thalia R. Goldstein * 12. As good as it gets? Blockbusters and the inequality of box office results since 1950 * Victor Fernandez-Blanco, Victor Ginsburgh, Juan Prieto-Rodriguez, and Sheila Weyers * End Section * 13. Social Science of the Cinema: Fade Out * Joshua Butler and James C. Kaufman
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