How Many Emotions Does Film Studies Need? A Phenomenological Proposal

Julian Hanich*

*Bijbehorende auteur voor dit werk

    OnderzoeksoutputAcademicpeer review

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    A look at current emotion research in fi lm studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in fi lm studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
    Originele taal-2English
    Pagina's (van-tot)91-115
    Aantal pagina's25
    TijdschriftProjections: the journal for movies and mind
    Volume15
    Nummer van het tijdschrift2
    Vroegere onlinedatum1-jun-2021
    DOI's
    StatusPublished - aug-2021

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