JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes

1. Murray Smith, "Lars von Trier: Sentimental Surrealist," 119. [return to page 1 of essay]

2. Mark Jefferson, “What is Wrong with Sentimentality?” 519.

3. Robert C. Solomon, “On Kitsch and Sentimentality,” 2.

4. Mary Ann Doane, The Desire to Desire: The Woman’s Film of the 1940s.

5. Anthony Savile, The Test of Time, 237.

6. Ibid.

7. Ibid., 241.

8. Mary Midgley, "Brutality and Sentimentality," 385.

9. Jefferson, "What is Wrong with Sentimentality?" 528.

10. Ibid., 527.

11. Jinhee Choi, “All the Right Responses: Fiction Film and Warranted Emotions.”

12. Joseph Kupfer, "The Sentimental Self," 547.

13. Ibid.

14. Jefferson, "What is Wrong With Sentimentaltiy," 527.

15. Kupfer , "The Sentimental Self," 546.

16. Kristin Thompson, Breaking the Glass Armor: Neo-formalist Film Analysis, 197-217. [return to page 2 of essay]

17. Murray Smith, Engaging Characters: Fiction, Emotion and the Cinema, 197-207.

18. Smith discusses an aesthetic merit of Eisenstein’s Strike (1925) in a similar way. He claims that the aesthetic virtue of the film, unlike many who attempt to assess in terms of thematic ambiguity or semantic equivocation, should be found in the formal dynamism interacting with the straightforward political message. See his Engaging Characters, 202.

19. Ed S.H. Tan and Nico H. Frida, "Sentiment in Film Viewing," 48-64.

20. Rey Chow, Sentimental Fabulations, Contemporary Chinese Films, 18-22.

Works cited

Choi, Jinhee, "All the Right Responses: Fiction Films and Warranted Emotions," British Journal of Aesthetics 43/3 (2003), 308-321.

Chow, Rey. Sentimental Fabulations, Contemporary Chinese Films (New York: Columbia University Press, 2007)

Doane, Mary Ann.  The Desire to Desire: The Woman’s Film of the 1940s (Bloomington: Indiana University Press, 1987).

Elley, Derek. "Dancer in the Dark," Variety May 22, 2000.

Feagin, Susan.  Reading With Feeling: The Aesthetic of Appreciation (Ithaca, NY: Cornell University Press, 1996).

Jefferson, Mark. “What is Wrong with Sentimentality?” Mind 92 (1983), 519-529.

Knight, Deborah. "Why We Enjoy Condemning Sentimentality: A Meta-Aesthetic Perspective,” The Journal of Aesthetics and Art Criticism, 57/4 (1999), 411-420.

Kupfer, Joseph. "The Sentimental Self," Canadian Journal of Philosophy 26/4 (1996), 543-560.

Midgley, Mary. "Brutality and Sentimentality," Philosophy 54 (1979), 385-289.

Newman, Ira. "The Alleged Unwholesomeness of Sentimentality," in Arguing about Art, 2nd edition, (eds.) Alex Neill and Aaron Ridley (London: Routledge, 2002), 320-331

Savile, Anthony.  The Test of Time (Oxford: Clarendon, 1982).

Smith,Murray.  Engaging Characters: Fiction, Emotion and the Cinema (Oxford: Clarendon, 1995).

________. "Lars von Trier: Sentimental Surrealist," in Purity and Provocation: Dogma 95, (eds.) Mette Hjort and Scott Mackenzie (London: British Film Institute, 2003), 111-121.

Solomon, Robert C.. "On Kitsch and Sentimentality," The Journal of Aesthetics and Art Criticism 49:1 (Winter 1991), 1–14.

________. "In Defense of Sentimentality," Philosophy of Literature 14 (1990), 304-323, Reprinted In Defense of Sentimentality (Oxford: Oxford University Press, 2004), 3-19. 

Tan, Ed S.H. and Nico H. Frida, ‘Sentiment in Film Viewing," in Passionate Views (eds.) Carl Plantinga and Greg M. Smith (Baltimore: Johns Hopkins U.P., 1999), 48-64. 

Tanner, Michael. "Sentimentality," Proceedings of the Aristotelian Society 1977, 127-147.

Thompson, Kristin. Breaking the Glass Armor: Neo-formalist Film Analysis (Princeton: Princeton U.P, 1988).


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