Jump to ContentJump to Main Navigation
Embodied VisionsEvolution, Emotion, Culture and Film$
Users without a subscription are not able to see the full content.

Torben Grodal

Print publication date: 2009

Print ISBN-13: 9780195371314

Published to Oxford Scholarship Online: May 2009

DOI: 10.1093/acprof:oso/9780195371314.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 13 November 2019

The Experience of Audiovisual Realism

The Experience of Audiovisual Realism

Chapter:
(p.250) 11 The Experience of Audiovisual Realism
Source:
Embodied Visions
Author(s):

Torben Grodal

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195371314.003.0012

This chapter analyzes what viewers experience as real and argues that the feeling of realism is only loosely linked to what is actually real. It describes the explicit or tacit feelings that label the reality status of perceptions, cognitions, and actions, and shows that such feelings are shorthand tags for the way in which brain circuits evaluate the reality status of experiences in order to decide whether the embodied brain can act, “go,” or not. The go-signal is feelings of realism and the stop-signal is feelings of unrealness; physical or mental actions in fictions provide realism, and documentary representations may provide a lyrical and “unrealistic” feelings if they do not afford actions. The author discusses different types of realism: perceptual realism in contrast to categorical realism, which deals with what is generally and abstractly real; and discusses those types of realism that mimic direct reporting and use perceptual imperfections to warrant that this is a real, unstaged representation. Last, the chapter discusses the psychological reasons that films portraying negative experiences are traditionally more often called realistic than those that portray positive events, and why postmodern skepticism toward realism is unwarranted.

Keywords:   realist films, film emotions, fiction theory, documentary film, reality status of film

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .