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Emotional Appeal of Science Fiction Cinema: In Awe of Interstellar

Yıl 2021, Cilt: 6 Sayı: 12, 1059 - 1074, 25.12.2021
https://doi.org/10.31122/sinefilozofi.833598

Öz

Science fiction has almost become the modern-day mythology, and compared to literature, it is a genre that attracts masses of people in the field of cinema. The ‘sublime,’ which is identified as one of the attractive aspects of science fiction literature, is a philosophical and aesthetic concept with a wide semantic variation associated with greatness, power and limitlessness. The expression of the sublime in cinema creates an emotion of ‘awe.’ Awe as a complex emotion is being increasingly explored in theoretical and empirical studies in recent years. In this study, the emotion of awe is examined on the example of Interstellar (Christopher Nolan, 2014). The film has distinctive depictions of the sublime and it suggests two distinguishing features of awe (i.e., vastness and a need for accommodation) by treating various aspects of science fiction themes and by its affective qualities. It has been concluded that awe as a cinematic emotion is the emotional core of Interstellar. The film embodies the operational structure of awe.

Kaynakça

  • Allen, S. (2018). The Science of Awe. Retrieved from https://ggsc.berkeley.edu/images/uploads/GGSC-JTF_White_Paper-Awe_FINAL.pdf
  • Arcangeli, M., Sperduti, M., Jacquot, A., Piolino, P., & Dokic, J. (2020). Awe and the Experience of the Sublime: A Complex Relationship. Frontiers in Psychology, 11(1340). https://doi.org/10.3389/fpsyg.2020.01340
  • Bonner, E. T., & Friedman, H. L. (2011). A Conceptual Clarification of the Experience of Awe: An Interpretative Phenomenological Analysis. The Humanistic Psychologist, 39(3), 222-235. https://doi.org/10.1080/08873267.2011.593372
  • Bukatman, S. (2003). Matters of Gravity: Special Effects and Supermen in the 20th Century. USA: Duke University Press.
  • Burke, E. (1990). A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. Oxford, UK: Oxford University Press.
  • Carroll, N. (1999). Film, Emotion, and Genre. In C. Plantinga & G. M. Smitt (Eds.), Passionate Views: Film, Cognition, and Emotion (pp. 21-47). Maryland, USA: The Johns Hopkins University Press.
  • Carroll, N. (Ed.). (2020). The Cinematic Sublime Negative Pleasures, Structuring Absences. Bristol, UK: Intellect Ltd.
  • Chirico, A., & Yaden, D. B. (2018). Awe: A Self-Transcendent and Sometimes Transformative Emotion. In H. C. Lench (Ed.), The Function of Emotions When and Why Emotions Help Us (pp. 221-233). Switzerland: Springer.
  • Christiansen, S. (2014). Tarja Laine: Feeling Cinema (Book Review). MedieKultur: Journal of Media and Communication Research, 57, 226-228.
  • Clewis, R. R. (2016). What’s the Big Idea?: On Emily Brady’s Sublime. The Journal of Aesthetic Education, 50(2), 104-118.
  • Clewis, R. R. (2018). Towards a Theory of the Sublime and Aesthetic Awe. In R. R. Clewis (Ed.), The Sublime Reader (pp. 340-354). London, UK: Bloomsbury Academic.
  • Clewis, R. R. (2019). Awe & Sublimity. Philosophy Now, 132, 20-21.
  • Comer, T. A., & Vayo, L. I. (Eds.). (2013). Terror and the Cinematic Sublime: Essays on Violence and the Unpresentable in Post-9/11 Films. USA: McFarland & Company Inc.
  • Crowther, P. (1998). Sublime, the. The Routledge Encyclopedia of Philosophy. Retrieved 15 Oct. 2020, from https://www.rep.routledge.com/articles/thematic/sublime-the/v-1. https://doi.org/10.4324/9780415249126-M040-1
  • Crowther, P. (2016). How Pictures Complete Us The Beautiful, the Sublime, and the Divine. California, USA: Stanford University Press.
  • Csicsery-Ronay, Jr., I. (2008). The Seven Beauties of Science Fiction. USA: Wesleyan University Press.
  • Dick, P. K. (1990). The Short Happy Life of the Brown Oxford and Other Classic Stories (The Collected Stories of Philip K. Dick, Vol. 1). New York, USA: Citadel Press.
  • Drake, N. (2019, April 10). First-Ever Picture of a Black Hole Unveiled. National Geographic. Retrieved from https://www.nationalgeographic.com/science/2019/04/first-picture-black-hole-revealed-m87-event-horizon-telescope-astrophysics/
  • Forte, T. (2017). Design Your Work: Praxis Volume 1. (Self-published e-book). Retrieved from https://www.amazon.com/Design-Your-Work-Praxis-1-ebook/dp/B075VXH7ZL/
  • Freeland, C. A. (1999). The Sublime in Cinema. In C. Plantinga & G. M. Smith (Eds.), Passionate Views: Film, Cognition, and Emotion (pp. 65-83). Maryland, USA: The Johns Hopkins University Press.
  • Gallagher, S., Reinerman-Jones, L., Janz, B., Bockelman, P., & Trempler, J. (2015). A Neurophenomenology of Awe and Wonder Towards a Non-Reductionist Cognitive Science. UK: Palgrave Macmillan.
  • Gordon, A. M., Stellar, J. E., Anderson, C. L., McNeil, G. D., Loew, D., & Keltner, D. (2016). The Dark Side of the Sublime: Distinguishing a Threat-Based Variant of Awe. Journal of Personality and Social Psychology. Advance online publication. https://doi.org/10.1037/pspp0000120
  • Holmqvist, K., & Płuciennik, J. (2002). A Short Guide to the Theory of the Sublime. Style, 36(4), 718-736.
  • Hornsey, M. J., Faulkner, C., Crimston, D., & Moreton, S. (2018). A Microscopic Dot on a Microscopic Dot: Self-Esteem Buffers the Negative Effects of Exposure to the Enormity of the Universe. Journal of Experimental Social Psychology, 76, 198-207. https://doi.org/10.1016/j.jesp.2018.02.009
  • Johanson, M. (2014, October 31). Interstellar Movie Review: Trading Worry for Wonder. Retrieved from https://www.flickfilosopher.com/2014/10/interstellar-movie-review-trading-worry-wonder.html
  • Johnson-Laird, P. N., & Oatley, K. (2016). Emotions in Music, Literature, and Film. In L. F. Barrett, M. Lewis, & J. M. Haviland-Jones (Eds.), Handbook of Emotions (pp. 82-97). New York, USA: The Guilford Press.
  • Kant, I. (2007). Critique of Judgement (J. C. Meredith, Trans.). New York, USA: Oxford University Press.
  • Keltner, D., & Haidt, J. (2003). Approaching Awe, A Moral, Spiritual, and Aesthetic Emotion. Cognition and Emotion, 17(2), 297-314.
  • Keltner, D. (2016, May 10). Why Do We Feel Awe? Greater Good Magazine. Retrieved from https://greatergood.berkeley.edu/article/item/why_do_we_feel_awe
  • Kirchner, C. (2018). Cinemascapes: Cinematic Sublimity and Spatial Configurations – Or – Learning from Los Angeles (Doctoral Dissertation). Available from ProQuest Dissertations & Theses Global. (2068983233). Retrieved from https://search.proquest.com/docview/2068983233
  • Konečni, V. J. (2005). The Aesthetic Trinity: Awe, Being Moved, Thrills. Bulletin of Psychology and the Arts, 5(2), 27-44.
  • Laine, T. (2011). Feeling Cinema Emotional Dynamics in Film Studies. New York, USA: Continuum.
  • Laine, T. (2015). Bodies in Pain Emotion and the Cinema of Darren Aronofsky. New York, USA: Berghahn Books.
  • Mendlesohn, F. (2003). Introduction: Reading Science Fiction. In E. James & F. Mendlesohn (Eds.), The Cambridge Companion to Science Fiction (pp. 1-12). Cambridge, UK: Cambridge University Press.
  • Mikulak, A. (2015, March 31). All About Awe. Association for Psychological Science. Retrieved from https://www.psychologicalscience.org/observer/all-about-awe
  • Morley, S. (2010). Introduction//The Contemporary Sublime. In S. Morley (Ed.), The Sublime (Documents of Contemporary Art) (pp. 12-21). London, UK: Whitechapel Gallery.
  • Nodelman, P. (1981). The Cognitive Estrangement of Darko Suvin. Children's Literature Association Quarterly, 5(4), 24-27.
  • Piff, P. K., Dietze, P., Feinberg, M., Stancato, D. M., & Keltner, D. (2015). Awe, the Small Self, and Prosocial Behavior. Journal of Personality and Social Psychology, 108(6), 883-899.
  • Plantinga, C. (2009). Moving Viewers American Film and the Spectator’s Experience. Los Angeles, CA: University of California Press.
  • Robu, C. (1988). A Key to Science Fiction: The Sublime. Foundation, 42, 21-37.
  • Rudd, M., Vohs, K. D., & Aaker, J. (2012). Awe Expands People’s Perception of Time, Alters Decision Making, and Enhances Well-Being. Psychological Science, 23(10), 1130-1136.
  • Schneider, K. J. (2004). Rediscovery of Awe: Splendor, Mystery and the Fluid Center of Life. St. Paul, MN: Paragon House.
  • Schneider, K. J. (2009). Awakening to Awe Personal Stories of Profound Transformation. USA: Jason Aronson.
  • Shiota, M. N., Keltner, D., & Mossman, A. (2007). The Nature of Awe: Elicitors, Appraisals, and Effects on Self-concept. Cognition and Emotion, 21(5), 944-963.
  • Smith, L. F., Smith, J. K., Arcand, K. K., Smith, R. K., Bookbinder, J., & Keach, K. (2011). Aesthetics and Astronomy: Studying the Public’s Perception and Understanding of Imagery from Space. Science Communication, 33(2), 201-238. https://doi.org/10.1177/1075547010379579
  • Sobchack, V. (2014). Sci-Why?: On the Decline of a Film Genre in an Age of Technological Wizardry. Science Fiction Studies, 41(2), 284-300.
  • Stellar, J. E., Gordon, A. M., Piff, P. K., Cordaro, D., Anderson, C. L., Bai, Y., Maruskin, L. A., & Keltner, D. (2017). Self-Transcendent Emotions and Their Social Functions: Compassion, Gratitude, and Awe Bind Us to Others through Prosociality. Emotion Review, 9(3), 200-207. https://doi.org/10.1177/1754073916684557
  • Stellar, J. E., Gordon, A., Anderson, C. L., Piff, P. K., McNeil, G. D., & Keltner, D. (2018). Awe and Humility. Journal of Personality and Social Psychology, 114(2), 258-269. https://doi.org/10.1037/pspi0000109
  • Stockwell, P. (2014). Aesthetics. In R. Latham (Ed.), The Oxford Handbook of Science Fiction (pp. 35-46). New York, USA: Oxford University Press.
  • Suvin, D. (1979). Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre. New Haven, CT: Yale University Press.
  • Telotte, J. P. (2004). Science Fiction Film. Cambridge, UK: Cambridge University Press.
  • The Art of the Sublime. (n.d.). Retrieved from https://www.tate.org.uk/art/research-publications/the-sublime
  • Thomas, E., Nolan, C., & Obst, L. (Producers) & Nolan, C. (Director). (2014). Interstellar [Motion Picture]. USA & UK: Paramount Pictures & Warner Bros. Pictures.
  • Vacker, B. (2018). Specter of the Monolith. USA: The Center for Media and Destiny.
  • Valdesolo, P., Shtulman, A., & Baron, A. S. (2017). Science Is Awe-Some: The Emotional Antecedents of Science Learning. Emotion Review, 9(3), 215-221. https://doi.org/10.1177/1754073916673212
  • Van Wyk, A. (2018). Close Encounters of the Sublime Kind: A Study of the Science Fiction Sublime in Contemporary Film (Doctoral Dissertation). Retrieved from https://repository.up.ac.za/handle/2263/70526
  • Whyte, I. B. (2011). The Sublime: An Introduction. In R. Hoffmann & I. B. Whyte (Eds.), Beyond the Finite The Sublime in Art and Science (pp. 3-20). New York, USA: Oxford University Press.
  • Wong, D. E. (2007). The Rebirth of Cool: Toward a Science Sublime. The Journal of Aesthetic Education, 41(2), 67-88.
  • Yaden, D. B., Haidt, J., Hood, R. W., Jr., Vago, D. R., & Newberg, A. B. (2017, May 1). The Varieties of Self-Transcendent Experience. Review of General Psychology. https://doi.org/10.1037/gpr0000102

Bilim Kurgu Sinemasının Duygusal Cazibesi: Yıldızlararası ve Hayranlık Duygusu

Yıl 2021, Cilt: 6 Sayı: 12, 1059 - 1074, 25.12.2021
https://doi.org/10.31122/sinefilozofi.833598

Öz

Bilim kurgu neredeyse modern dünyanın mitolojisi haline gelmiş olup edebiyata kıyasla sinemada insanları kitleler halinde salonlara çekmeyi beceren bir türdür. Bilim kurgu edebiyatının cezbedici yönlerinden biri olarak gösterilen ‘yüce,’ büyüklük, güç ve sınırsızlık ile ilişkilendirilen, geniş bir anlamsal varyasyona sahip felsefi ve estetik bir kavramdır. Sinemada yücenin dışavurumu bir ‘hayranlık’ duygusu oluşturur. Hayranlık girift bir duygu olarak teorik ve ampirik çalışmalarda son yıllarda artan bir hızla incelenmektedir. Bu çalışmada, Christopher Nolan’ın Yıldızlararası (Interstellar, 2014) filmi özelinde, bilim kurgu sinemasının insanları cezbetmesinin ardında yatan hayranlık duygusu incelenmiştir. Film, yücenin ayırt edici tasvirlerine sahiptir ve bilim kurgu temalarının çeşitli yönlerini ve duygusal niteliklerini işleyerek hayranlığın iki ayırt edici özelliğini (enginlik ve uyum sağlama ihtiyacı) ortaya koymaktadır. Bir sinemasal duygu olarak hayranlığın Yıldızlararası filminin duygusal özü olduğu sonucuna ulaşılmıştır. Film, hayranlık duygusunun işlemsel yapısını cisimleştirir.

Kaynakça

  • Allen, S. (2018). The Science of Awe. Retrieved from https://ggsc.berkeley.edu/images/uploads/GGSC-JTF_White_Paper-Awe_FINAL.pdf
  • Arcangeli, M., Sperduti, M., Jacquot, A., Piolino, P., & Dokic, J. (2020). Awe and the Experience of the Sublime: A Complex Relationship. Frontiers in Psychology, 11(1340). https://doi.org/10.3389/fpsyg.2020.01340
  • Bonner, E. T., & Friedman, H. L. (2011). A Conceptual Clarification of the Experience of Awe: An Interpretative Phenomenological Analysis. The Humanistic Psychologist, 39(3), 222-235. https://doi.org/10.1080/08873267.2011.593372
  • Bukatman, S. (2003). Matters of Gravity: Special Effects and Supermen in the 20th Century. USA: Duke University Press.
  • Burke, E. (1990). A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. Oxford, UK: Oxford University Press.
  • Carroll, N. (1999). Film, Emotion, and Genre. In C. Plantinga & G. M. Smitt (Eds.), Passionate Views: Film, Cognition, and Emotion (pp. 21-47). Maryland, USA: The Johns Hopkins University Press.
  • Carroll, N. (Ed.). (2020). The Cinematic Sublime Negative Pleasures, Structuring Absences. Bristol, UK: Intellect Ltd.
  • Chirico, A., & Yaden, D. B. (2018). Awe: A Self-Transcendent and Sometimes Transformative Emotion. In H. C. Lench (Ed.), The Function of Emotions When and Why Emotions Help Us (pp. 221-233). Switzerland: Springer.
  • Christiansen, S. (2014). Tarja Laine: Feeling Cinema (Book Review). MedieKultur: Journal of Media and Communication Research, 57, 226-228.
  • Clewis, R. R. (2016). What’s the Big Idea?: On Emily Brady’s Sublime. The Journal of Aesthetic Education, 50(2), 104-118.
  • Clewis, R. R. (2018). Towards a Theory of the Sublime and Aesthetic Awe. In R. R. Clewis (Ed.), The Sublime Reader (pp. 340-354). London, UK: Bloomsbury Academic.
  • Clewis, R. R. (2019). Awe & Sublimity. Philosophy Now, 132, 20-21.
  • Comer, T. A., & Vayo, L. I. (Eds.). (2013). Terror and the Cinematic Sublime: Essays on Violence and the Unpresentable in Post-9/11 Films. USA: McFarland & Company Inc.
  • Crowther, P. (1998). Sublime, the. The Routledge Encyclopedia of Philosophy. Retrieved 15 Oct. 2020, from https://www.rep.routledge.com/articles/thematic/sublime-the/v-1. https://doi.org/10.4324/9780415249126-M040-1
  • Crowther, P. (2016). How Pictures Complete Us The Beautiful, the Sublime, and the Divine. California, USA: Stanford University Press.
  • Csicsery-Ronay, Jr., I. (2008). The Seven Beauties of Science Fiction. USA: Wesleyan University Press.
  • Dick, P. K. (1990). The Short Happy Life of the Brown Oxford and Other Classic Stories (The Collected Stories of Philip K. Dick, Vol. 1). New York, USA: Citadel Press.
  • Drake, N. (2019, April 10). First-Ever Picture of a Black Hole Unveiled. National Geographic. Retrieved from https://www.nationalgeographic.com/science/2019/04/first-picture-black-hole-revealed-m87-event-horizon-telescope-astrophysics/
  • Forte, T. (2017). Design Your Work: Praxis Volume 1. (Self-published e-book). Retrieved from https://www.amazon.com/Design-Your-Work-Praxis-1-ebook/dp/B075VXH7ZL/
  • Freeland, C. A. (1999). The Sublime in Cinema. In C. Plantinga & G. M. Smith (Eds.), Passionate Views: Film, Cognition, and Emotion (pp. 65-83). Maryland, USA: The Johns Hopkins University Press.
  • Gallagher, S., Reinerman-Jones, L., Janz, B., Bockelman, P., & Trempler, J. (2015). A Neurophenomenology of Awe and Wonder Towards a Non-Reductionist Cognitive Science. UK: Palgrave Macmillan.
  • Gordon, A. M., Stellar, J. E., Anderson, C. L., McNeil, G. D., Loew, D., & Keltner, D. (2016). The Dark Side of the Sublime: Distinguishing a Threat-Based Variant of Awe. Journal of Personality and Social Psychology. Advance online publication. https://doi.org/10.1037/pspp0000120
  • Holmqvist, K., & Płuciennik, J. (2002). A Short Guide to the Theory of the Sublime. Style, 36(4), 718-736.
  • Hornsey, M. J., Faulkner, C., Crimston, D., & Moreton, S. (2018). A Microscopic Dot on a Microscopic Dot: Self-Esteem Buffers the Negative Effects of Exposure to the Enormity of the Universe. Journal of Experimental Social Psychology, 76, 198-207. https://doi.org/10.1016/j.jesp.2018.02.009
  • Johanson, M. (2014, October 31). Interstellar Movie Review: Trading Worry for Wonder. Retrieved from https://www.flickfilosopher.com/2014/10/interstellar-movie-review-trading-worry-wonder.html
  • Johnson-Laird, P. N., & Oatley, K. (2016). Emotions in Music, Literature, and Film. In L. F. Barrett, M. Lewis, & J. M. Haviland-Jones (Eds.), Handbook of Emotions (pp. 82-97). New York, USA: The Guilford Press.
  • Kant, I. (2007). Critique of Judgement (J. C. Meredith, Trans.). New York, USA: Oxford University Press.
  • Keltner, D., & Haidt, J. (2003). Approaching Awe, A Moral, Spiritual, and Aesthetic Emotion. Cognition and Emotion, 17(2), 297-314.
  • Keltner, D. (2016, May 10). Why Do We Feel Awe? Greater Good Magazine. Retrieved from https://greatergood.berkeley.edu/article/item/why_do_we_feel_awe
  • Kirchner, C. (2018). Cinemascapes: Cinematic Sublimity and Spatial Configurations – Or – Learning from Los Angeles (Doctoral Dissertation). Available from ProQuest Dissertations & Theses Global. (2068983233). Retrieved from https://search.proquest.com/docview/2068983233
  • Konečni, V. J. (2005). The Aesthetic Trinity: Awe, Being Moved, Thrills. Bulletin of Psychology and the Arts, 5(2), 27-44.
  • Laine, T. (2011). Feeling Cinema Emotional Dynamics in Film Studies. New York, USA: Continuum.
  • Laine, T. (2015). Bodies in Pain Emotion and the Cinema of Darren Aronofsky. New York, USA: Berghahn Books.
  • Mendlesohn, F. (2003). Introduction: Reading Science Fiction. In E. James & F. Mendlesohn (Eds.), The Cambridge Companion to Science Fiction (pp. 1-12). Cambridge, UK: Cambridge University Press.
  • Mikulak, A. (2015, March 31). All About Awe. Association for Psychological Science. Retrieved from https://www.psychologicalscience.org/observer/all-about-awe
  • Morley, S. (2010). Introduction//The Contemporary Sublime. In S. Morley (Ed.), The Sublime (Documents of Contemporary Art) (pp. 12-21). London, UK: Whitechapel Gallery.
  • Nodelman, P. (1981). The Cognitive Estrangement of Darko Suvin. Children's Literature Association Quarterly, 5(4), 24-27.
  • Piff, P. K., Dietze, P., Feinberg, M., Stancato, D. M., & Keltner, D. (2015). Awe, the Small Self, and Prosocial Behavior. Journal of Personality and Social Psychology, 108(6), 883-899.
  • Plantinga, C. (2009). Moving Viewers American Film and the Spectator’s Experience. Los Angeles, CA: University of California Press.
  • Robu, C. (1988). A Key to Science Fiction: The Sublime. Foundation, 42, 21-37.
  • Rudd, M., Vohs, K. D., & Aaker, J. (2012). Awe Expands People’s Perception of Time, Alters Decision Making, and Enhances Well-Being. Psychological Science, 23(10), 1130-1136.
  • Schneider, K. J. (2004). Rediscovery of Awe: Splendor, Mystery and the Fluid Center of Life. St. Paul, MN: Paragon House.
  • Schneider, K. J. (2009). Awakening to Awe Personal Stories of Profound Transformation. USA: Jason Aronson.
  • Shiota, M. N., Keltner, D., & Mossman, A. (2007). The Nature of Awe: Elicitors, Appraisals, and Effects on Self-concept. Cognition and Emotion, 21(5), 944-963.
  • Smith, L. F., Smith, J. K., Arcand, K. K., Smith, R. K., Bookbinder, J., & Keach, K. (2011). Aesthetics and Astronomy: Studying the Public’s Perception and Understanding of Imagery from Space. Science Communication, 33(2), 201-238. https://doi.org/10.1177/1075547010379579
  • Sobchack, V. (2014). Sci-Why?: On the Decline of a Film Genre in an Age of Technological Wizardry. Science Fiction Studies, 41(2), 284-300.
  • Stellar, J. E., Gordon, A. M., Piff, P. K., Cordaro, D., Anderson, C. L., Bai, Y., Maruskin, L. A., & Keltner, D. (2017). Self-Transcendent Emotions and Their Social Functions: Compassion, Gratitude, and Awe Bind Us to Others through Prosociality. Emotion Review, 9(3), 200-207. https://doi.org/10.1177/1754073916684557
  • Stellar, J. E., Gordon, A., Anderson, C. L., Piff, P. K., McNeil, G. D., & Keltner, D. (2018). Awe and Humility. Journal of Personality and Social Psychology, 114(2), 258-269. https://doi.org/10.1037/pspi0000109
  • Stockwell, P. (2014). Aesthetics. In R. Latham (Ed.), The Oxford Handbook of Science Fiction (pp. 35-46). New York, USA: Oxford University Press.
  • Suvin, D. (1979). Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre. New Haven, CT: Yale University Press.
  • Telotte, J. P. (2004). Science Fiction Film. Cambridge, UK: Cambridge University Press.
  • The Art of the Sublime. (n.d.). Retrieved from https://www.tate.org.uk/art/research-publications/the-sublime
  • Thomas, E., Nolan, C., & Obst, L. (Producers) & Nolan, C. (Director). (2014). Interstellar [Motion Picture]. USA & UK: Paramount Pictures & Warner Bros. Pictures.
  • Vacker, B. (2018). Specter of the Monolith. USA: The Center for Media and Destiny.
  • Valdesolo, P., Shtulman, A., & Baron, A. S. (2017). Science Is Awe-Some: The Emotional Antecedents of Science Learning. Emotion Review, 9(3), 215-221. https://doi.org/10.1177/1754073916673212
  • Van Wyk, A. (2018). Close Encounters of the Sublime Kind: A Study of the Science Fiction Sublime in Contemporary Film (Doctoral Dissertation). Retrieved from https://repository.up.ac.za/handle/2263/70526
  • Whyte, I. B. (2011). The Sublime: An Introduction. In R. Hoffmann & I. B. Whyte (Eds.), Beyond the Finite The Sublime in Art and Science (pp. 3-20). New York, USA: Oxford University Press.
  • Wong, D. E. (2007). The Rebirth of Cool: Toward a Science Sublime. The Journal of Aesthetic Education, 41(2), 67-88.
  • Yaden, D. B., Haidt, J., Hood, R. W., Jr., Vago, D. R., & Newberg, A. B. (2017, May 1). The Varieties of Self-Transcendent Experience. Review of General Psychology. https://doi.org/10.1037/gpr0000102
Toplam 59 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Felsefe
Bölüm Makaleler
Yazarlar

Mehmet Sarı 0000-0001-6473-3543

Yayımlanma Tarihi 25 Aralık 2021
Yayımlandığı Sayı Yıl 2021 Cilt: 6 Sayı: 12

Kaynak Göster

APA Sarı, M. (2021). Emotional Appeal of Science Fiction Cinema: In Awe of Interstellar. SineFilozofi, 6(12), 1059-1074. https://doi.org/10.31122/sinefilozofi.833598