301
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

The Impact of the Hitchcockian Suspense Model and Its Associated Directing Style on the Horror Genre: A Neurocinematics Study

Works Cited

  • Adair, G. 2002. Alfred Hitchcock: Filming Our Fears. 1st ed. Oxford: Oxford University Press.
  • Anastasova, M. 2018. The Suspense of Horror and the Horror of Suspense. Newcastle Upon Tyne, UK: Cambridge Scholars Publishing.
  • Anderson, J. R. 2005. Cognitive Psychology and Its Implications. Basingstoke, UK: Macmillan.
  • Arijon, D. 1991. Grammar of the Film Language. Los Angeles: Silman-James Press.
  • Aristotle 1943. “Poetics.” In On Man in the Universe, edited by L. R. Loomis. New York: Printed in the United States of America.
  • Arnheim, R. 1986. New Essays on the Psychology of Art. Berkeley: University of California Press.
  • Baker, G. P. 1919. Dramatic Technique. New York: Houghton Mifflin.
  • Balconi, M., and U. Pozzoli. 2009. “Arousal Effect on Emotional Face Comprehension: Frequency Band Changes in Different Time Intervals.” Physiology & Behavior 97 (3–4): 455–462.
  • Blake, M., and S. Bailey. 2013. Writing the Horror Movie. USA: Bloomsbury Academic.
  • Bordwell, D. 1977. “Camera Movement and Cinematic Space.” Ciné-Tracts 2: 19–25.
  • Borja Jimenez, K. C., A. R. Abdelgabar, L. De Angelis, L. S. McKay, C. Keysers, and V. Gazzola. 2020. “Changes in Brain Activity Following the Voluntary Control of Empathy.” NeuroImage 216: 116529. 10.1016/j.neuroimage.2020.116529.
  • Brean, H. 1959. “Master of Suspense Explains His Art. [Interview mit Hitchcock.].” Life 47 (13.7): 72, 74.
  • Cheong, Y.-G., and R. M. Young. 2008. “Narrative Generation for Suspense: Modeling and Evaluation.” In Joint International Conference on Interactive Digital Storytelling, 144–155. Berlin, Heidelberg: Springer.
  • Codispoti, M., and A. De Cesarei. 2007. “Arousal and Attention: Picture Size and Emotional Reactions.” Psychophysiology 44 (5): 680–686.
  • Cohen, P. M. 2011. “Conceptual Suspense in Hitchcock’s Films.” In A Companion to Alfred Hitchcock, edited by T. Leitch and L. Poague, 126–137. Sussex: John Wiley & Sons.
  • Comisky, P., and J. Bryant. 1982. “Factors Involved in Generating Suspense.” Human Communication Research 9 (1): 49–58.
  • Currie, G. 1995. Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge University Press.
  • d’Ydewalle, G., G. Desmet, and J. Van Rensbergen. 1998. “Film Perception: The Processing of Film Cuts.” In Eye Guidance in Reading and Scene Perception, 357–367. London, UK: Elsevier.
  • Engen, H. G., and T. Singer. 2013. “Empathy Circuits.” Current Opinion in Neurobiology 23 (2): 275–282.
  • Gallese, V., and M. Guerra. 2022. “The Neuroscience of Film.” Projections 16 (1): 1–10.
  • Gazzola, V., G. Rizzolatti, B. Wicker, and C. Keysers. 2007a. “The Anthropomorphic Brain: The Mirror Neuron System Responds to Human and Robotic Actions.” NeuroImage 35 (4): 1674–1684. 10.1016/j.neuroimage.2007.02.003.
  • Gazzola, V., H. van der Worp, T. Mulder, B. Wicker, G. Rizzolatti, and C. Keysers. 2007b. “Aplasics Born without Hands Mirror the Goal of Hand Actions With Their Feet.” Current Biology: CB 17 (14): 1235–1240.
  • Hasson, U., O. Landesman, B. Knappmeyer, I. Vallines, N. Rubin, and D. J. Heeger. 2008. “Neurocinematics: The Neuroscience of Film.” Projections 2 (1): 1–26. 10.3167/proj.2008.020102.
  • Heimann, K., S. Uithol, M. Calbi, M. A. Umiltà, M. Guerra, J. Fingerhut, and V. Gallese. 2019. “Embodying the Camera: An EEG Study on the Effect of Camera Movements on Film Spectators Sensorimotor Cortex Activation.” PloS One 14 (3): e0211026.
  • Hitchcock, A. (Director). 1958. Vertigo. USA: Paramount Pictures.
  • Hitchcock, A. (Director). 1959. North by Northwest. USA: Metro-Goldwyn-Mayer.
  • Hitchcock, A. (Director). 1960. Psycho. USA: Paramount Pictures.
  • Hitchcock, A. (Director). 1961. Bang, You’re Dead! USA.
  • Hitchcock, A. (Director). 1963. The Birds. USA: Universal-International Pictures.
  • Hitchcock, A. (Director). 1972. Frenzy. United Kingdom: Universal Pictures.
  • Ira, K. 2007. “Film Theory and the New Science.” Projections: The Journal for Movies and Mind 1 (1): 1–24.
  • Jancovich, M. 1996. Horror (London: Batsford, 1992). Rational Fears: Anerican Horror in the 1950s. UK: Manchestec Manchester University Press.
  • Jancovich, M. 2000. “A Real Shocker”: Authenticity, Genre and the Struggle for Distinction.” Continuum 14 (1): 23–35.
  • Jancovich, M. 2011. “The English Master of Movie Melodrama”: Hitchcock, Horror and the Woman’s Film.” Film International 9 (3): 51–69.
  • Jancovich, M. 2013. “Bluebeard’s Wives’: Horror, Quality and the Paranoid Woman’s Film in the 1940s.” Irish Gothic Journal 12: 20–43.
  • Jancovich, M. 2017. “Beyond Hammer: The First Run Market and the Prestige Horror Film in the Early 1960s.” Palgrave Communications 3 (1):Article 1. 10.1057/palcomms.2017.28.
  • Kapsis, R. E. 1992. Hitchcock: The Making of a Reputation. Chicago: University of Chicago Press.
  • Katz, S. D. 1991. Film Directing Shot by Shot: Visualizing from Concept to Screen. 1st ed. Studio City, CA: Michael Wiese.
  • Kawabata, H., and S. Zeki. 2004. “Neural Correlates of Beauty.” Journal of Neurophysiology 91 (4): 1699–1705.
  • Kawin, B. F. 2012. Horror and the Horror Film. New York, NY: Anthem Press.
  • Kenworthy, C. 2011. Master Shots Vol 2: Shooting Great Dialogue Scenes. 57014th ed. Studio City, CA: Michael Wiese Productions.
  • Kenworthy, C. 2012. Master Shots Vol 1, 2nd Edition: 100 Advanced Camera Techniques to Get an Expensive Look on Your Low Budget Movie. 2nd ed., Revised). Studio City, CA: Michael Wiese Productions.
  • Kenworthy, C. 2013. Master Shots Vol 3: The Director’s Vision: 100 Setups, Scenes and Moves for Your Breakthrough Movie. 7.2.2013 ed. Studio City, CA: Michael Wiese Productions.
  • Keysers, C., J. H. Kaas, and V. Gazzola. 2010. “Somatosensation in Social Perception.” Nature Reviews. Neuroscience 11 (6): 417–428.
  • Khosravi Khorashad, S., S. Khoneiveh, M. Hajian, and R. Khosrowabadi. 2022. “Decoupage Parameters Related to the Suspense Points and Symmetrical Activation of Brain Waves at the Frontal Lobe: An EEG Study of the Movie “Psycho.” Quarterly Review of Film and Video 40: 1–23. 10.1080/10509208.2022.2091882.
  • Kim, C.-Y., and R. Blake. 2007. “Brain Activity Accompanying Perception of Implied Motion in Abstract Paintings.” Spatial Vision 20 (6): 545–560.
  • King, S. 1981. Danse Macabre. New York: Everest House.
  • Kuhn, A., and G. Westwell. 2012. A Dictionary of Film Studies. Oxford: Oxford University Press.
  • Lamm, C., J. Decety, and T. Singer. 2011. “Meta-Analytic Evidence for Common and Distinct Neural Networks Associated with Directly Experienced Pain and Empathy for Pain.” Neuroimage 54 (3): 2492–2502.
  • Larry, D. (Director). 2000. Curb Your Enthusiasm (TV Series). USA: Warner Bros. Domestic Television Distribution HBO Enterprises.
  • Lehne, M., and S. Koelsch. 2015. “Toward a General Psychological Model of Tension and Suspense.” Frontiers in Psychology 6: 79.
  • Leoni, S. (Director). 1966. The Good, the Bad and the Ugly (Buono, il brutto, il cattivo). Spain and Italy: Produzioni Europee Associate.
  • Livingstone, M., and D. H. Hubel. 2002. Vision and Art: The Biology of Seeing (Vol. 2). New York: Harry N. Abrams New York.
  • Lowenstein, A. 1998. “Films Without a Face: Shock Horror in the Cinema of Georges Franju.” Cinema Journal 37 (4): 37.
  • Lowenstein, A. 2011. “Spectacle Horror and Hostel: Why ‘Torture Porn’does Not Exist.” Critical Quarterly 53 (1): 42–60.
  • Magliano, J. P., J. Miller, and R. A. Zwaan. 2001. “Indexing Space and Time in Film Understanding.” Applied Cognitive Psychology 15 (5): 533–545.
  • Mar, R. A. 2011. “The Neural Bases of Social Cognition and Story Comprehension.” Annual Review of Psychology 62: 103–134.
  • Meffert, H., V. Gazzola, J. A. Den Boer, A. A. Bartels, and C. Keysers. 2013. “Reduced Spontaneous But Relatively Normal Deliberate Vicarious Representations in Psychopathy.” Brain: a Journal of Neurology 136 (Pt 8): 2550–2562.
  • Naab, T., and F. Sukalla. 2019. “Hero or Villain? The Role of Audience Beliefs About Suspense for Their Suspense Experience.” Studies in Communication, Media 8 (1): 53–76. 10.5771/2192-4007-2019-1-53.
  • Nummenmaa, L., E. Glerean, M. Viinikainen, I. P. Jääskeläinen, R. Hari, and M. Sams. 2012. “Emotions Promote Social Interaction by Synchronizing Brain Activity ACROSS Individuals.” Proceedings of the National Academy of Sciences 109 (24): 9599–9604.
  • Putman, P.,. J. van Peer, I. Maimari, and S. van der Werff. 2010. “EEG Theta/Beta Ratio in Relation to Fear-Modulated Response-Inhibition, Attentional Control, and Affective Traits.” Biological Psychology 83 (2): 73–78. 10.1016/j.biopsycho.2009.10.008.
  • Ramachandran, V. S., and W. Hirstein. 1999. “The Science of Art: A Neurological Theory of Aesthetic Experience.” Journal of Consciousness Studies 6 (6–7): 15–51.
  • Rizzolatti, G., and L. Craighero. 2004. “The Mirror-Neuron System.” Annual Review of Neuroscience 27: 169–192.
  • Ryan, M.-L. 2008. “Interactive Narrative, Plot Types, and Interpersonal Relations.” In Interactive Storytelling, edited by U. Spierling and N. Szilas, 6–13. Berlin: Springer. 10.1007/978-3-540-89454-4_2
  • Saxe, R., and N. Kanwisher. 2003. “People Thinking About Thinking People: The Role of the Temporo-Parietal Junction in “Theory of Mind.” Neuroimage 19 (4): 1835–1842.
  • Schurz, M., J. Radua, M. Aichhorn, F. Richlan, and J. Perner. 2014. “Fractionating Theory of Mind: A Meta-Analysis of Functional Brain Imaging Studies.” Neuroscience and Biobehavioral Reviews 42: 9–34.
  • Singer, Tania, Ben Seymour, John O’Doherty, Holger Kaube, Raymond J. Dolan, and Chris D. Frith. 2004. “Empathy for Pain Involves the Affective But Not Sensory Components of Pain.” Science 303 (5661): 1157–1162.
  • Smith, M. 2014. “The Pit of Naturalism: Neuroscience and the Naturalized Aesthetics of Film.” In Cognitive Media Theory, edited by T. Nannicelli and P. Taberham, 27–45. New York: Routledge.
  • Smith, T. J. 2006. “An Attentional Theory of Continuity Editing.” Doctoral thesis, University of Edinburgh.
  • Stuss, D. T. 2006. “Frontal Lobes and Attention: Processes and Networks, Fractionation and Integration.” Journal of the International Neuropsychological Society: JINS 12 (2): 261–271. 10.1017/S1355617706060358.
  • Thompson, A. R. 1942. The Anatomy of Drama. Berkeley: University of California Press. 10.1525/9780520351844
  • Truffaut, F., A. Hitchcock, and H. G. Scott. 1984. Hitchcock. New York: Simon and Schuster.
  • Visch, V. T., E. S. Tan, and D. Molenaar. 2010. “The Emotional and Cognitive Effect of Immersion in Film Viewing.” Cognition & Emotion 24 (8): 1439–1445.
  • Vygotsky, L. S. 1971. The Psychology of Art. Cambridge, MA: MIT Press.
  • Wimmer, H., and J. Perner. 1983. “Beliefs About Beliefs: Representation and Constraining Function of Wrong Beliefs in Young Children’s Understanding of Deception.” Cognition 13 (1): 103–128.
  • Wirth, Werner, Tilo Hartmann, Saskia Böcking, Peter Vorderer, Christoph Klimmt, Holger Schramm, Timo Saari, et al. 2007. “A Process Model of the Formation of Spatial Presence Experiences.” Media Psychology 9 (3): 493–525.
  • Zabeti Jahromi, A. 2013. The Techniques of Film Editing. Vol.2: Discontinuity Editing. Tehran, Iran: Radio and Television University.
  • Zacks, J. M., N. K. Speer, K. M. Swallow, and C. J. Maley. 2010. “The Brain’s Cutting-Room Floor: Segmentation of Narrative Cinema.” Frontiers in Human Neuroscience 4: 168.
  • Zeki, S. 2002. “Inner Vision: An Exploration of Art and the Brain.” Journal of Aesthetics and Art Criticism 60(4): 365–366.
  • Zillmann, D. 1980. “Anatomy of Suspense.” In The Entertainment Functions of Television (Tannenbaum). Hillsdale, NJ: Erlbaum.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.