Introduction

  1. García, Alberto N. 1
  1. 1 Universidad de Navarra
    info

    Universidad de Navarra

    Pamplona, España

    ROR https://ror.org/02rxc7m23

Libro:
Emotions in Contemporary TV Series

Editorial: Palgrave MacMillan

ISBN: 9781349849369,  9781137568854

Año de publicación: 2016

Páginas: 1-10

Tipo: Capítulo de Libro

DOI: 10.1007/978-1-137-56885-4_1 GOOGLE SCHOLAR lock_openAcceso abierto editor

Resumen

Ever since the Parisian spectators at the Grand Café ran away terrified at the sight of the train that approached La Ciotat station, it has been clear that cinema is an emotion-generating machine. In fact, to narrate is always to produce emotions. Munsterberg, one of the pioneers of film theory, saw this as early as 1916: ‘Picturing emotions must be the central aim of the photoplay’ (Münsterberg 48). Even that early in the history of film, he was already conscious of how emotions affected spectators: ‘On the one hand we have those emotions in which the feelings of the persons in the play are transmitted to our own soul. On the other hand, we find feelings which may be entirely different, perhaps exactly opposite to those which the figures in the play express’ (53).