The power within: Mass media,scientific entertainment,and the introduction of psychical research into China, 1900–1920

How did a new science initially promoted by only a few individuals eventually become a widespread cultural phenomenon practiced and known by thousands of people? Following a transnational approach, this article traces the introduction of psychical research into China during the first two decades of the 20th century. Known in the Republican period (1912–1949) as Spiritual Science (xinling kexue or xinling yanjiu), psychical research flourished between the 1920s and 1930s, playing a key role in the popularization of applied psychology and mind-cure across China. This article takes a step back from the heyday of Spiritual Science by looking at the period that immediately preceded and helped define it. Focused on wide-circulation newspapers, popular manuals, and stage performances, it teases out the ways in which Chinese popular culture translated European, American, and Japanese psychical research to local Chinese audiences in the midst of China's search for modernity. By naturalizing the reality of psychic powers, spiritual scientists blurred the boundaries between science and superstition in a period when these were posited as diametrically opposed.     

The Late Life Reconstruction of Selfhood Analyzed in Peter Hall's Film She's Been Away

The film She's Been Away tells the story of an old woman who had been locked in a mental asylum while a teenager, for willfully violating repressive sexual codes. Sixty years later her ward is closed and she moves in with her nephew and his wife. Faced with what appears to be a hopeless situation, she manages to forge a sense of a meaningful closure to a misspent life. Through narrative, story structure, and characterization the film throws into focus coping mechanisms and ego strategies deployed by a triple disadvantaged person (woman, old, and mad) in her ascent to a reconstructed selfhood. As the protagonist ties both ends of her life, and faces the abyss in between she makes genuine adaptive use of so-called regressive, late-life development assets (available to a lesser degree to elderly people in normal life circumstances), primarily the abolition of linear time. Through this abolition she makes reminiscing an actual reality while still maintaining a functional separation between the real and the remembered. Her portrayal is a valuable document for gerontologists as it explores, through artistic imagination and intuition, the workings of an aging mind in search for a meaningful sense of closure.     

The placebo effect in popular culture

This paper gives an overview of the placebo effect in popular culture, especially as it pertains to the work of authors Patrick O’Brian and Sinclair Lewis. The beloved physician as placebo, and the clinician scientist as villain are themes that respectively inform the novels, The Hundred Days and Arrowsmith. Excerpts from the novels, and from film show how the placebo effect, and the randomized clinical trial, have emerged into popular culture, and evolved over time. An earlier version of this paper was presented at an international conference, “Placebo: Its Action and Place in Health Research Today,” held in Warsaw, Poland on 12–13 April, 2003.     

The Suspended Aesthetic: Slavoj Žižek on Eastern European Film

Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and potentiality. Defining iek's aesthetics in terms of suspension helps to explain his partiality for Kies´lowski and Tarkovskij and bears comparison to the Russian tradition of philosophical aesthetics, in particular Aleksej Losev and Alexander Bakshy.     

Behold … All Things New: Uppsala 1968 and Its Mediatization as Film

The 4th Assembly of the World Council of Churches (WCC) in 1968 occurred during a period of increasing influence of the media in shaping society and culture. The documentary film Behold … All Things New, produced by Radio Sweden for the WCC's 1968 assembly in Uppsala, reflected this development. It was, however, both a promotional tool for the church and a sort of documentary. This article analyzes the film from the context of church media relations, examining the strengthened mediatization of the religious arena in the 20th century and giving close attention to the circumstances of the film's production, its narrative techniques, and visual realization. In this way, the film is made accessible as a historical source for the WCC and thus also for the history of the globalization of churches. The film places into perspective the connection between mediatization and secularization, as it represents the churches' integration into modern media society with all of its visual symbols of globality, ecumenism, and willingness to enter into dialogue.     

Auditory driving and affective influences

Past research has shown that variations in musical tempo influence the perceived rate of visual motion. The goal here was to investigate whether this effect is influenced by audiovisual affect. Participants were presented with montages (slideshows) of positive or negative scenes accompanied by positive or negative music whose rate was either the same as, or 15% faster or slower than that of the montage. The results of a subsequent recognition task showed a higher false alarm rate to faster and slower visual scenes in the presence of accelerated and decelerated soundtracks, respectively. Moreover, the magnitude of these effects significantly increased when music–montage pairs displayed a positive and negative affect, respectively. In contrast, variations in visual rate exerted no influence on auditory rate recognition. These findings have implications for audiovisual art forms as well as theories of cross‐modal perception.     

The Perks of Being Relational: Reviewing The Perks of Being a Wallflower

This article reviews The Perks of Being a Wallflower (Halfon, Smith, Malkovich, & Chbosky, 2012), a coming-of-age film about 3 high school students attempting to survive school, find themselves, and connect with others. The authors provide a synopsis of various portions of the film and identify important aspects of relational-cultural theory (RCT) within its plot, such as growth-fostering relationships, controlling images, and relational images. Various characters’ plotlines are discussed in relation to what RCT identifies as paramount tenets of human development and mental health. The authors also briefly discuss other counseling issues touched on within the film (i.e., affectional identity, sexual assault, and relational violence).     

First‐time viewers' comprehension of films: Bridging shot transitions

Which perceptual and cognitive prerequisites must be met in order to be able to comprehend a film is still unresolved and a controversial issue. In order to gain some insights into this issue, our field experiment investigates how first‐time adult viewers extract and integrate meaningful information across film cuts. Three major types of commonalities between adjacent shots were differentiated, which may help first‐time viewers with bridging the shots: pictorial, causal, and conceptual. Twenty first‐time, 20 low‐experienced and 20 high‐experienced viewers from Turkey were shown a set of short film clips containing these three kinds of commonalities. Film clips conformed also to the principles of continuity editing. Analyses of viewers' spontaneous interpretations show that first‐time viewers indeed are able to notice basic pictorial (object identity), causal (chains of activity), as well as conceptual (links between gaze direction and object attention) commonalities between shots due to their close relationship with everyday perception and cognition. However, first‐time viewers' comprehension of the commonalities is to a large degree fragile, indicating the lack of a basic notion of what constitutes a film.     

The Spirit(s) of Science: Paradoxical Positivism as Religious Discourse among Spiritualists

This article examines a narrative dilemma that popular texts on evolution face. On the one hand, popular science tends to privilege linear and culturally familiar narrative structures, as previous studies of popularization have often emphasized. On the other hand, however, the Darwinian idea of natural selection resists linear narration, as narrative theorist H. Porter Abbott has argued. This resistance arises from the fact that evolution by natural selection lacks proper narrative entities and narrative events and that it relies on two parallel narrative levels, the levels of species and organism. This paper explores how two popular science books on evolution negotiate this narrative dilemma by introducing a third narrative level. Both texts appropriate characteristics from the narrative levels of species and organism and project them on molecular and minute scales by portraying evolution as a micro-narrative that takes place in chromosomes, genes, cells and microscopic details of human organs. While this textual strategy produces a coherent and compelling narrative that for the most part succeeds in masking the structural gap between the narrative levels of species and organism, it also risks naturalizing cultural imagery. In particular, this micro-narrative tends to represent popular gender ideologies as biological truths embedded in molecular processes within our bodies.     

Collaborative recall of details of an emotional film

Collaborative inhibition refers to the phenomenon that when several people work together to produce a single memory report, they typically produce fewer items than when the unique items in the individual reports of the same number of participants are combined (i.e., nominal recall). Yet, apart from this negative effect, collaboration may be beneficial in that group members remove errors from a collaborative report. Collaborative inhibition studies on memory for emotional stimuli are scarce. Therefore, the present study examined both collaborative inhibition and collaborative error reduction in the recall of the details of emotional material in a laboratory setting. Female undergraduates (n = 111) viewed a film clip of a fatal accident and subsequently engaged in either collaborative (n = 57) or individual recall (n = 54) in groups of three. The results show that, across several detail categories, collaborating groups recalled fewer details than nominal groups. However, overall, nominal recall produced more errors than collaborative recall. The present results extend earlier findings on both collaborative inhibition and error reduction to the recall of affectively laden material. These findings may have implications for the applied fields of forensic and clinical psychology.