00896nam a2200241 i 450099100171110970753620020507150838.0000330s1984 it ||| | ita b11553017-39ule_instLE02723653ExLDip.to Studi GiuridiciitaPR-III/AVincenzi Amato, Diana211112Associazioni e tutela dei singoli :una ricerca comparata /Diana Vincenzi AmatoNapoli :Jovene,1984xxiii, 205 p. ;24 cm.Biblioteca di diritto privato ;30.b1155301701-03-1702-07-02991001711109707536LE027 PR-III/A 412027000283514le027-E0.00-l- 00000.i1175327402-07-02Associazioni e tutela dei singoli580074UNISALENTOle02701-01-00ma -itait 0103617nam 22006615 450 991025506940332120240701105417.09783319551883331955188410.1007/978-3-319-55188-3(CKB)4340000000061439(DE-He213)978-3-319-55188-3(MiAaPQ)EBC4913708(Perlego)3497791(EXLCZ)99434000000006143920170712d2017 u| 0engurnn|008mamaatxtrdacontentcrdamediacrrdacarrierAlfred Hitchcock's Vertigo and the Hermeneutic Spiral /by Robert J. Belton1st ed. 2017.Cham :Springer International Publishing :Imprint: Palgrave Macmillan,2017.1 online resource (XI, 155 p. 4 illus.) 9783319551876 3319551876 Includes bibliographical references and index.Chapter 1: Introduction -- Chapter 2: The Hermeneutic Spiral -- Chapter 3: Vertigo -- Chapter 4: Forcing Insight with Sight and the Availability Heuristic -- Chapter 5: Vertigo, Duchamp's Anémic Cinéma, and a Žižekian Brassiere -- Chapter 6: Vertigo, Man Ray's L'Etoile de mer, and Flowers -- Chapter 7: Vertigo, Kubrick's The Shining, Spellbound and Liberty -- Chapter 8: Vertigo, Lynch's Twin Peaks and the Record Player -- Chapter 9: Vertigo, Etrog's Spiral, The Shining and Traumatic Memory -- Chapter 10: Vertigo, The Shining, Spatial Mental Models, and the Uncanny.This book offers a new approach to film studies by showing how our brains use our interpretations of various other films in order to understand Alfred Hitchcock's Vertigo. Borrowing from behavioral psychology, cognitive science and philosophy, author Robert J. Belton seeks to explain differences of critical opinion as inevitable. The book begins by introducing the hermeneutic spiral, a cognitive processing model that categorizes responses to Vertigo's meaning, ranging from wide consensus to wild speculations of critical "outliers." Belton then provides an overview of the film, arguing that different interpreters literally see and attend to different things. The fourth chapter builds on this conclusion, arguing that because people see different things, one can force the production of new meanings by deliberately drawing attention to unusual comparisons. The latter chapters outline a number of such comparisons-including avant-garde films and the works of Stanley Kubrick and David Lynch-to shed new light on the meanings of Vertigo.Motion picturesHistoryMotion picturesHermeneuticsAestheticsCognitive psychologyFilm and TV HistoryFilm TheoryHermeneuticsAudio-Visual CultureAestheticsCognitive PsychologyMotion picturesHistory.Motion pictures.Hermeneutics.Aesthetics.Cognitive psychology.Film and TV History.Film Theory.Hermeneutics.Audio-Visual Culture.Aesthetics.Cognitive Psychology.791.4309Belton Robert Jauthttp://id.loc.gov/vocabulary/relators/aut887206BOOK9910255069403321Alfred Hitchcock's Vertigo and the Hermeneutic Spiral1982009UNINA