Understanding Cinema A Psychological Theory of Moving Imagery [Hardcover]

First published in 2003, Understanding Cinema analyzes the moving imagery of film and television from a psychological perspective.Understanding Cinema analyzes the moving imagery of film and television from a psychological perspective. Per Persson argues that spectators interpret, feel, make use of knowledge, assumptions, expectations and prejudices when viewing and making sense of film. Drawing on psychology and anthropology, he explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator. Anchoring the discussion in concrete examples from early and contemporary cinema. Understanding Cinema also analyzes the design of cinema conventions and their stylistic transformations through the evolution of film.Understanding Cinema analyzes the moving imagery of film and television from a psychological perspective. Per Persson argues that spectators interpret, feel, make use of knowledge, assumptions, expectations and prejudices when viewing and making sense of film. Drawing on psychology and anthropology, he explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator. Anchoring the discussion in concrete examples from early and contemporary cinema. Understanding Cinema also analyzes the design of cinema conventions and their stylistic transformations through the evolution of film.Understanding Cinema analyzes the moving imagery of film and television from a psychological perspective. Per Persson asserts that spectators interpret, feel or make use of knowledge, assumptions, expectations and prejudices when viewing film. Persson explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator. Utilizing examples from early and contemporary cinema, the book also analyzes the design of cinema conventions and their stylistic transformlÃ3