Peek-a-boo, I See You: Watching Japanese Hard-core Animation

This essay proposes a phenomenological approach to the viewing of Japanese hard-core animation (widely known in the West as “hentai”), a type of erotica frequently characterized by detailed, unusual and fantastic depictions of sexual activity habitually intended for sexual arousal. Pertinent instances of Japanese traditions of erotica and visual representation, as well as Japanese animation and its industry are briefly reviewed. The main theoretical focus is on the experience of viewing such animated material and is mostly informed by Western notions of pornography and film viewing, particularly Vivian Sobchack’s work on the phenomenology of film.

The Geometry of Gendered Conflict in Popular Film: 1986–2000

In this qualitative content analysis of 150 popular films, the meaning of gendered conflict in contemporary popular culture is addressed from a systems theoretical perspective. Gendered conflict occupies a central position in these films and is normatively structured in terms of networks of romantic/sexual conflict based upon the geometric foundation of the triangle. Triangles are found to invoke dualistic pairs of stereotypes among characters who are competing for the attention of a common focus of attraction. When men occupy the center of triangles, dualism involves the Madonna/Whore archetype. When women occupy the center, dualism alternates between Hero/Villain and Prince/Scoundrel archetypes. Norms, values, and expectations regarding gendered conflict are found to foster male privilege in each archetype.     

Vantage perspective in analogue trauma memories: an experimental study

Vantage perspective during recall is thought to affect the emotionality and accessibility of distressing memories. This study aimed to test the effects of vantage perspective during recall on memory associated distress and intrusion development. An adapted version of the trauma film paradigm was used in an experimental design with three conditions. Participants were asked to listen to eyewitness reports of car accidents (e.g. Trauma Analogue Induction) and imagine the scenes vividly using mental imagery. Afterwards, they were asked to recall the most distressing scene from field perspective, observer perspective, or to recall a neutral image from observer perspective (control condition) (e.g. Trauma Analogue Recall). Recall from field perspective resulted in higher negative mood, state-anxiety, and a higher number of short-term intrusions compared to the observer perspective condition and control condition. Negative mood and state-anxiety were mediators in the relationship between vantage perspective and intrusions. In comparison to observer perspective, field perspective increased the amount of short-term intrusions as a result of higher levels of negative mood and state-anxiety after memory retrieval. Future research on the interaction between vantage perspective at recall and negative mood and anxiety effects is warranted.     

Pre-stressor cognitive control is related to intrusive cognition of a stressful film

It has been suggested that relatively weak cognitive control existing prior to a stressful event may be associated with intrusive memories of that stressor afterwards. We explored this in two analog studies employing unselected participants who saw an emotional film fragment and completed behavioral (i.e., color-naming interference [CNI]) and self-report indices of intrusions. Prior to film presentation, several cognitive control tests were administered. Study 1 showed that better updating/monitoring was linked to less CNI from negative film-related words. However, better updating/monitoring was associated with more diary reports of intrusive memories. Study 2 showed that a better resistance to pro-active interference (PI) predicted less self-reported film-related intrusive cognition after 24h. However, after this delay, both self-reported intrusions and CNI were not related to updating/monitoring. Taken together, the results suggest that a specific pre-existing cognitive control function (i.e., resistance to PI) may be involved in the regulation of post-stressor intrusive memory phenomena.     

An interpretation of Babette's Feast as a parable of trauma

In this paper I use the film Babette's Feast as a parable to portray the impasse that often arises out of the experience of complex trauma. The experience of such trauma invokes a crisis of reality. It overflows the boundaries of rational containment. There are no mechanisms with which to apprehend such an event, and consequently it cannot be comprehended; because it cannot be comprehended it cannot be processed. The film Babette's Feast encapsulates the predicament of the individual ensnared in the web of trauma. Although removed from the location and events of her trauma, Babette remains the resident of an austere and colourless environment, her gifts repressed, her brilliance unseen. Healing comes to Babette through her willingness to revisit her true self, a self that has been crushed under the weight of grief and trauma. This revisiting costs her all she has. Yet, it is in this revisiting that she not only frees herself from the austerity of her environment but also engenders purpose and hope within the community who have taken her in. The dissonance of her life is paralleled by the dissonance of the life of the community in which she lives; it is the harmonizing of these dissonances which cannot be spoken that finally gives articulation to the incoherence of Babette's trauma.     

A Psychoanalytic View of Racial Myths in a Nazi Propaganda Film: Der Ewige Jude (The Eternal Jew)

This paper describes the emotional appeal of propaganda utilizing concepts from psychoanalysis, small group psychology, and psychohistory. The film propagandist attempts to exploit irrational emotional responses to visual scenes and commentary to change attitudes, values, and behavior in a mass setting. A link between shared unconscious fantasies and myth is offered as an explanatory concept to explain propaganda's wide emotional appeal. The German Nazi anti-Semitic film, Der Ewige Jude, serves as the case example of the exploitation of such fantasies in a mass setting for a political end.     

The Sexuality of Elderly People on Film—Visual Limitations

During the last decade there has been a growing interest in images of aging in gerontology, but representations of elderly people's sexual lives still remain largely unexplored. This article attempts to elucidate the image of elderly people's sexuality in popular culture by analyzing representations of elderly people in mainstream feature films. Between 1990 and 1995, only 9 films out of a sample of 2000 in Swedish theatres cast elderly people as leading characters. In this article, these 9 films have been deconstructed in order to identify the rules of representation that guide and limit the depiction of elderly people's sexuality on film. One specific film is then analyzed in more detail to show how the rules were used to create a credible image of an elderly couple's sexuality, and a frame analysis is used to identify how elderly people's sexuality can be packaged on film to produce a slightly bolder representation of their sexuality.     

“Cuts in Action”: A High‐Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film

In spite of their striking differences with real‐life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a way that expectations of spatial continuity are strongly violated. In the present study, we used high‐density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts‐across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts.     

The influence of a visuospatial grounding task on intrusive images of a traumatic film

Nonclinical participants watched a trauma film under two processing conditions. During part of the film participants carried out a concurrent visuospatial grounding task consisting of the construction of shapes out of plasticine (modelling clay), while the rest of the film constituted a control, no task condition. The visuospatial task was predicted to selectively compete for processing resources required for intrusive image formation. As predicted, spontaneous intrusive images during the succeeding week were significantly less common from those parts of the film that coincided with the concurrent task. The task had no effect on levels of distress or peritraumatic dissociation, consistent with the hypothesis that intrusions were reduced because the task competed for resources necessary for encoding into an image-based memory system.