Relevant bibliographies by topics / Scene fear

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Scene fear'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Scene fear"

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Peira, Nathalie, Armita Golkar, Maria Larsson, and Stefan Wiens. "What You Fear Will Appear." Experimental Psychology 57, no. 6 (2010): 470–75. http://dx.doi.org/10.1027/1618-3169/a000058.

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Various experimental tasks suggest that fear guides attention. However, because these tasks often lack ecological validity, it is unclear to what extent results from these tasks can be generalized to real-life situations. In change detection tasks, a brief interruption of the visual input (i.e., a blank interval or a scene cut) often results in undetected changes in the scene. This setup resembles real-life viewing behavior and is used here to increase ecological validity of the attentional task without compromising control over the stimuli presented. Spider-fearful and nonfearful women detect
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Ottosen, Rune, and Arne H. Krumsvik. "Digital Challenges on the Norwegian Media Scene." Nordicom Review 33, no. 2 (2012): 43–55. http://dx.doi.org/10.2478/nor-2013-0013.

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Abstract This article summarises findings from a research project on the digitisation of Norwegian newsrooms, analysing trends in the industry and changes in user-habits. Findings suggest that most journalists are positive about the digitisation of the newsroom but fear that cutbacks in staff will prevent them from exploiting the potential of the new technology. They also fear that too much focus on technical skills will leave less space for critical journalism. Findings also suggest a correlation between resources used to develop the online edition and the perceived ethical standards of the c
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Hu, Senqi, Tasha R. Bostow, Daniel A. Lipman, Shawna K. Bell, and Scott Klein. "Positive Thinking Reduces Heart Rate and Fear Responses to Speech-Phobic Imagery." Perceptual and Motor Skills 75, no. 3_suppl (1992): 1067–73. http://dx.doi.org/10.2466/pms.1992.75.3f.1067.

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30 speech-anxious subjects imagined a phobic speech scene 10 times. The experimental conditions varied according to whether the subjects engaged in positive, neutral, or negative thinking prior to each scene presentation. Heart rate and self-reports of fear were measured during the imagery periods. Positive thinking just before visualization of the phobic images reduced both subjective anxiety about speech and cardiovascular responses.
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Süner, Ahmet. "“Be Not Afeared”." Renascence 71, no. 3 (2019): 187–206. http://dx.doi.org/10.5840/renascence201971313.

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This paper looks at the thematic and rhetorical variations of a fundamental fear that frequently surfaces in Shakespeare’s The Tempest: the fear of illegitimate birth, which may also be understood as the fear of non-contractual sexuality. Sycorax is the prominent supernatural figure that the play deploys to depict unpredictable, indeterminate and horrible acts of creation unsanctioned by society. The paper shows how the fear of illegitimate birth not only shapes entire characters such as Sycorax and Caliban, but also infiltrates the language and figures that prevail in Prospero’s orchestration
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Holzman, Arnold D., and Donald J. Levis. "The effects of increasing the number of stimulus modalities included in a fear-eliciting imagery scene on reported imagery clarity, scene repetition, and sympathetic (fear) arousal." Cognitive Therapy and Research 13, no. 4 (1989): 389–405. http://dx.doi.org/10.1007/bf01173481.

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Bickenbach, Matthias. "Terror nicht Horror." Zeitschrift für Medien- und Kulturforschung, no. 1 (2009): 167–84. http://dx.doi.org/10.28937/1000107496.

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Hideo Nakata's film version of THE RING sets up a remarkable constellation of technical and spiritualist media that has re-established the genre of psycho-horror films. The film is not just about a ghost story but, unlike the novels by Kôji Suzuki, about a primeval scene of the fear of media that initiates the eventuation of a "video curse", thereby raising the issue of the technology of fear as a history of media.
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Papadodima, Efi. "The Rhetoric of Fear in Euripides’Phoenician Women." Antichthon 50 (November 2016): 33–49. http://dx.doi.org/10.1017/ann.2016.4.

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AbstractIn accordance with its notoriously rich plot,Phoenician Womenexplores diverse aspects of fear that affect, and are thematised by, various parties at different stages of the plot.1Against the background of a virtually ‘irrational’ and inescapable divine necessity (treated as a source of dread in itself), Euripides presents the play’s central crisis as being largely determined by rational and controlled decision-making, within an array of moral disputes that enter the scene. The agents’ decision-making standardly comprises diverging, conflicting, or inconsistent attitudes towards fear an
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Tan, Siu-Lan, Matthew P. Spackman, and Matthew A. Bezdek. "Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown." Music Perception 25, no. 2 (2007): 135–52. http://dx.doi.org/10.1525/mp.2007.25.2.135.

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STUDIES ADDRESSING EFFECTS OF MUSIC ON VIEWERS' perceptions of film have usually presented music simultaneously with a scene of interest. In the present study, 177 undergraduates viewed film excerpts with music presented before or after a scene featuring a single character. Whereas the film characters had emotionally neutral or subdued facial expressions, the music conveyed happiness, sadness, fear, or anger. Overall, participants tended to interpret characters' emotions in ways that were consistent with the particular emotion expressed in the music, offering evidence for both forward and back
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North, Max M., Sarah M. North, and Joseph R. Coble. "Virtual Reality Therapy: an Effective Treatment for the Fear of Public Speaking." International Journal of Virtual Reality 3, no. 3 (1998): 1–6. http://dx.doi.org/10.20870/ijvr.1998.3.3.2625.

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The major goal of this research was to investigate the efficacy of virtual reality therapy (VRT) in the treatment of the fear of public speaking. After an extensive two-stage screening process, sixteen subjects were selected from the pool. They were assigned to two treatment conditions: VRT (N=8) and comparison group (N=8). Fourteen subjects completed the study. The VRT group was exposed to the virtual reality public speaking scene while the comparison group was exposed to a trivial virtual reality scene and guided by the experimenters to manage their phobia either by using visualization techn
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Sellheim, Nikolas P. "‘The rage of the Northmen’: Extreme metal and North-motivated violence." Polar Record 54, no. 5-6 (2018): 339–48. http://dx.doi.org/10.1017/s0032247419000020.

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AbstractThe Vikings have for generations yielded significant output in different cultural venues. Also the music scene has utilised perceptions of the North and the Northmen to generate a stereotypical image of medieval Scandinavian society. Extreme metal, most notably black and Viking metal, have applied narratives pertaining to the Viking Age for its own purposes. This paper examines one particular aspect of the black and Viking metal music scene: violence. It examines how the North and its inhabitants are utilised to justify violent behaviour. Drawing from pinpointed examples of extreme met
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Dissertations / Theses on the topic "Scene fear"

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Geležėlienė, Svajonė. "Scenos baimės raiška ir jos įveikos galimybės muzikanto-atlikėjo meninės kūrybos procese." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090828_132256-55234.

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Darbe nagrinėjama. kaip muzikantas-atlikėjas meninės kūrybos procese išgyvena daugybę įvairiausių emocijų. Pasirodymas scenoje visada susijęs su gebėjimu susikurti tinkamą sceninę būseną. Scenos baimė – psichologinis reiškinys, kurį jaučia muzikantai-atlikėjai sceninio pasirodymo metu. Tyrimo objektas – muzikantų-atlikėjų scenos baimės raiška ir jos įveikos galimybės. Tyrimo tikslas – analizuoti muzikantų-atlikėjų scenos baimės raiškos ypatumus ir jos įveikos galimybes. Tyrimo uždaviniai: 1) atskleisti meninės kūrybos ir muzikanto-atlikėjo profesijos specifiškumą, analizuojant mokslinę, psich
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Branchu, Colette. "Archéo-analyse de l'oeuvre : Le Petit Prince : l'écriture d'un secret ou la trace secrète d'une écriture hiéroglyphique." Phd thesis, Université Paul Valéry - Montpellier III, 2011. http://tel.archives-ouvertes.fr/tel-00804970.

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Le conte Le Petit Prince, commence par " Lorsque j'avais six ans ". Ces mots sont précédés d'une image montrant l'enlacement d'un serpent boa autour d'une bête fauve. Or les premiers mots d'une oeuvre ainsi que l'illustration qui les précède en indiquent le déroulement et permet de prévoir la fin. Ces deux notations signalent que ce conte est l'histoire d'un enfant de six ans qui se pose deux questions clés: que signifient ces enlacements à la fois merveilleux et inquiétants dont il reproduit l'image et en quoi leur dynamique le concerne-t-il? Il pose ainsi la question " d'où je viens ? " suiv
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Books on the topic "Scene fear"

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Matthews, Patricia Anne Klein Ernst Brisco. The scent of fear. Magna Large Print Books, 1993.

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Clayton, Matthews, ed. The scent of fear. Thorndike Press, 1992.

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Les mises en scène de l'effroi, Titus Andronicus: France et Angleterre. Classiques Garnier, 2010.

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Dead run. Putnam, 2005.

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Tracy, P. J. Dead run. Thorndike Press, 2005.

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Scent of Fear. Pan Books, 2019.

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Park, Tony. Scent of Fear. Pan Macmillan Australia Pty, Limited, 2019.

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Litz, NJ. Scent of Fear. NJ Litz, 2018.

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Yorke, Margaret. The Scent of Fear. Soundings, 1998.

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Yorke, Margaret. The Scent of Fear. ISIS Publishing Ltd, 2001.

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Book chapters on the topic "Scene fear"

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Ellis, Ben. "An Object of Fear? Setting the Scene for Understanding Being Feared." In Being Feared. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61545-1_2.

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Millar, Isabel. "“Before We Even Know What We Are, We Fear to Lose It”: The Missing Object of the Primal Scene." In Lacanian Perspectives on Blade Runner 2049. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56754-5_10.

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Liao, Dan, Yanping Huang, Zhizhen Tan, Jiong Yang, and Xiangmin Xu. "Design of Virtual Reality Scenes with Variable Levels of Fear Evocation." In Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91584-5_9.

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Radcliffe, Ann. "Chapter XI." In The Romance of the Forest. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199539222.003.0014.

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Thou! to whom the world unknown With all its ‘shadowy shapes is shown; Who seest appall’d th’ unreal scene, While fancy lifts the veil between; Ah, Fear! ah, frantic Fear! I see, I see thee near! know thy hurry’d step, thy haggard eye! Like thee...
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De Boever, Arne. "Financial Realism in The Fear Index." In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0004.

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Chapter Three compares and contrasts the psychotic realism of Psycho and American Psycho to the financial realism of more contemporary finance fictions such as Alger’s The Darlings. The case-study in this chapter is Robert Harris’ science-fiction thriller The Fear Index. While The Fear Index continues the finance novel’s theme of psychosis—its main character, a finance man, is suggested to be psychotic and the novel includes a murder scene set in a hotel shower that is clearly inter-textual with Hitchcock’s film. The novel also resists this theme by refusing to blame everything that is happening to its main character on psychosis. Instead, it gradually reveals that the source of the evils narrated in the book is a trading algorithm that has gone rogue. The Fear Index thus introduces its readers to the contemporary economy of algorithmic, high-frequency trading—a reality that, while it may sound like science fiction, is represented in the novel in a realist, and at one point even documentary-like, mode. Generally received as a sci-fi thriller, The Fear Index thus presents an important step forward in relation to the psychotic realism of American Psycho in that it resists what Joseph Vogl in his philosophical study of the economy has called “the spectralization of capital.” The economy is certainly not forgotten in Harris’ novel but instead takes center-stage.
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Estera Mrozewicz, Anna. "Embodying the Fear of Russia: The Militarised Body." In Beyond Eastern Noir. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418102.003.0006.

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Chapter 5 embarks on the analysis of one of the most widespread (stereotypical) tropes associated with Russia, in which the ‘Russia as a crime scene’ conception plays a potent part: that of the Russian soldier. The analyses are concerned with pictures which – not seeking to deny the militarisation of contemporary Russian society – look for historical foundations of the stereotype and examine the discursive and political mechanisms underlying the construction of militarised Russian bodies, both in terms of representation (through references to Nordic, notably Finnish, war films, as well as Soviet cinematic propaganda), and in the socio-cultural realities of contemporary Russia. Rysskräck (Swedish word for fear of Russia) is thus often deconstructed as a Nordic projection in which the Russian soldier is an entity contrasted with the peacefully-minded, unarmed, and innocent Nordic body. The concept of the disciplined (militarised) body enables one to diagnose representations of Russia as a society/nation of grand narratives, but the chapter also takes a look at films employing such strategies as humour, irony, sarcasm or deliberately de-politicised stance, thanks to which grand narratives can be circumvented.
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Dalakoglou, Dimitris. "Fear of the road and the accident of postsocialism." In The Road. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109330.003.0005.

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This city which centralizes spatially inland mobility infrastructure it also centralizes spatial mobility socially as almost one third of its pre-1990 population lives in Greece. So unsurprisingly in the city and on the road one hears many narrations which locate their action is the 29km cross-border highway. Some of these stories are well known to a lot of Gjirokastrits and were repeated many times during my stay there. They are tales of car crashes, supernatural events, assassinations which occurred on the motorway during the violence of 1997 and of the ‘dangerous’ inhabitants of Lazarati village who are supposed to commit their various criminal activities on the highway. I suggest that in the case of Gjirokastër the highway and the related practices signify the novelties of postsocialism. These novelties combine simultaneously positive and negative implications, although the informants seem to focus on a number of negative incidents which occurred on the road, in fact the Kakavijë-Gjirokastër road emerges as the scene on which the various episodes of an uncertain daily life are located. This is the uncertainty of the entire Albanian postsocialist transitional project.
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Rommerskirchen, Charlotte. "Fiscal Policy Coordination." In EU Fiscal Policy Coordination in Hard Times. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829010.003.0002.

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This chapter sets the scene for this study by providing historical context and introducing the key aspects, processes, and players of fiscal policy coordination. In so doing it charts key developments of pre-crisis fiscal policy coordination, before turning to the creation of the European crisis agreement, the European Economic Recovery Plan (EERP), and finally the reform packages post-crisis. Despite impressions to the contrary, the procedures for fiscal policy coordination are extensive, albeit enforced and reinforced with little political and legal power. Although there is persistent continuity for some ideas and procedures—the Stability and Growth Pact (SGP) and its fear of stability free riding chief among them—new innovations and reforms have made inroads.
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Muehlberger, Ellen. "Creating the Experience of Death in Late Ancient Sermons." In Moment of Reckoning. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190459161.003.0003.

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Chapter 2 examines how the sufferings of the individual at death were then raised to salience in Christian preaching. It investigates in detail a phenomenon that other scholars have remarked in passing: that late antiquity saw an increase in sermons that depicted death as a terrifying, awful situation, one that required fear and attention. The author says “depicted” because, as this chapter shows, such sermons were sophisticated rhetorical displays—the ancient version of inducing a virtual reality. The mechanisms by which they did their work were subtle, but had a specific effect: they existed not simply to convey information about what death would be like, but to enact a fully realized scene of death in which audience members could imagine themselves and thereby experience the moment of death in advance.
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Lerner, Ross. "Receiving Divine Action." In Unknowing Fanaticism. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283873.003.0001.

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This introduction reconstructs how the meaning of fanaticism evolved in relation to theories of state and mind in the sixteenth and seventeenth centuries, from Luther to Locke. In the radical German Anabaptist claim that self-annihilation could turn an individual into an instrument of God’s violence can be located a primal scene for fanaticism that has been overlooked by recent studies, even those that begin with the Anabaptist example. Fanaticism raised the specter of a human being who had been emptied of self and transformed into a vessel of a divinity not bound to any earthly law or hierarchy. The special inspiration of fanatics threatened to spread like a contagion. In the wake of the Peasant Revolt of the 1520s, fanaticism’s unruly fusion of religious violence and anarchic mysticism drew political fear and poetic attention.
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Conference papers on the topic "Scene fear"

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Sabeeh, Hamdan F., Isam M. Abdulbaqi, and Sahib M. Mahdi. "A 3D FEA Approach to Design an Induction Coil for Case Hardening of a Carbon Steel Gear." In 2018 Third Scientific Conference of Electrical Engineering (SCEE). IEEE, 2018. http://dx.doi.org/10.1109/scee.2018.8684208.

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Moreira, Cintia Mariza do Amaral, Ana Carolina de Gouvea Dantas Motta, Juliano Melquiades Vianello, Rosilene de Athayde Gonçalves, and Carla Queiroz de Paula. "THE DISCIPLINE "BODY, CULTURE AND ENVIRONMENT IN A MASTER'S COURSE AT UNIVERSIDADE SANTA ÚRSULA, BRAZIL": LEARNING STRATEGIES AND COLLABORATIVE TEACHING." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/11.

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The Professional Master's in Work Management for the Quality of the Built Environment, MPGTQAC has existed at the Universidade Santa Úrsula, Rio de Janeiro, Brazil, since the beginning of 2015. The body is one of the substantive elements of the course. It emerges as an elective discipline. The purpose of this communication is to refine the understanding of the central ideas of the discipline ‘Body, culture and environment’ of the master, combined with the situation of Covid 19. A complementary bibliography of the discipline was presented, and some works were described and commented on. We took
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