In this book, Tarja Laine provides insights into how traumatic cinema invites profound affective engagement with the pathology of memory that lies at the heart of trauma. The author reveals that traumatic cinema communicates the inability to process a traumatic event by means of its aesthetic specificity as a time-based medium.
The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator’s lived body. Aronofsky’s films, which include a rich range of production from Requiem for a Dream to Black Swan, are often considered “cerebral” because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audiovisual style. Bodies in Pain looks at how Aronofsky’s films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.
Emotional Ethics of The Hunger Games expands the ‘ethical turn’ in Film Studies by analysing emotions as a source of ethical knowledge in The Hunger Games films. It argues that emotions, incorporated in the thematic and aesthetic organization of these films, reflect a crisis in moral standards. As such they cultivate ethical attitudes towards such phenomena as totalitarianism, the culture of reality television, and the society of spectacle. The focus of the argument is on cinematic aesthetics, which expresses emotions in a way that highlights their ethical significance, running the gamut from fear through guilt and shame, to love, anger and contempt. The central claim of the book is that these emotions are symptomatic of some moral conflict, which renders The Hunger Games franchise a meaningful commentary on the affective practice of cinematic ethics. ‘’The Hunger Games movies have become iconic symbols for resistance across the globe. Tarja Laine proposes that this is not caused by their status as exciting cinematic spectacles, but by their engaging our emotions. Laine uses The Hunger Games as key texts for understanding our world, demonstrating that ethics do not originate from rational considerations, far removed from those mucky things called emotions. But rather that emotions are at the core of cinematic ethics.” —William Brown, Author of Supercinema: Film-Philosophy for the Digital Age ‘’In this elegantly written exploration of the relationship between aesthetics and emotion in The Hunger Gamestrilogy, Tarja Laine illuminates the power of film to embody ethical conflict. Deftly interweaving film-philosophy and close analysis, Laine traces how these films mobilise complex emotions, nuancing our thinking about cinema and the spectator. Laine’s book takes The Hunger Games films seriously, demonstrating with verve why they matter.” —Catherine Wheatley, Senior Lecturer in Film Studies, King’s College London, UK ''In this fresh, engaging, and insightful study of The Hunger Games film trilogy, Tarja Laine explores the crucial role that emotions play in appreciation of the ethical qualities of the movies. She forges productive dialogues between a range of film theory, scholarship on moral philosophy, and debates on ethics, as she performs a multi-layered investigation of the aesthetic qualities of the trilogy, the multiple emotions embodied in these qualities, and the philosophical-ethical insights that are in turn embedded in these emotions. The cinematic connection between emotions and ethics that emerges through Laine’s detailed textual analyses confronts us with complex moral dilemmas while enriching our aesthetic experience.'' —Sarah Cooper, Professor, Film Studies Department, King's College London, UK
The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator’s lived body. Aronofsky’s films, which include a rich range of production from Requiem for a Dream to Black Swan, are often considered “cerebral” because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audiovisual style. Bodies in Pain looks at how Aronofsky’s films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.
In this book, Tarja Laine provides insights into how traumatic cinema invites profound affective engagement with the pathology of memory that lies at the heart of trauma. The author reveals that traumatic cinema communicates the inability to process a traumatic event by means of its aesthetic specificity as a time-based medium.
Emotional Ethics of The Hunger Games expands the ‘ethical turn’ in Film Studies by analysing emotions as a source of ethical knowledge in The Hunger Games films. It argues that emotions, incorporated in the thematic and aesthetic organization of these films, reflect a crisis in moral standards. As such they cultivate ethical attitudes towards such phenomena as totalitarianism, the culture of reality television, and the society of spectacle. The focus of the argument is on cinematic aesthetics, which expresses emotions in a way that highlights their ethical significance, running the gamut from fear through guilt and shame, to love, anger and contempt. The central claim of the book is that these emotions are symptomatic of some moral conflict, which renders The Hunger Games franchise a meaningful commentary on the affective practice of cinematic ethics. ‘’The Hunger Games movies have become iconic symbols for resistance across the globe. Tarja Laine proposes that this is not caused by their status as exciting cinematic spectacles, but by their engaging our emotions. Laine uses The Hunger Games as key texts for understanding our world, demonstrating that ethics do not originate from rational considerations, far removed from those mucky things called emotions. But rather that emotions are at the core of cinematic ethics.” —William Brown, Author of Supercinema: Film-Philosophy for the Digital Age ‘’In this elegantly written exploration of the relationship between aesthetics and emotion in The Hunger Gamestrilogy, Tarja Laine illuminates the power of film to embody ethical conflict. Deftly interweaving film-philosophy and close analysis, Laine traces how these films mobilise complex emotions, nuancing our thinking about cinema and the spectator. Laine’s book takes The Hunger Games films seriously, demonstrating with verve why they matter.” —Catherine Wheatley, Senior Lecturer in Film Studies, King’s College London, UK ''In this fresh, engaging, and insightful study of The Hunger Games film trilogy, Tarja Laine explores the crucial role that emotions play in appreciation of the ethical qualities of the movies. She forges productive dialogues between a range of film theory, scholarship on moral philosophy, and debates on ethics, as she performs a multi-layered investigation of the aesthetic qualities of the trilogy, the multiple emotions embodied in these qualities, and the philosophical-ethical insights that are in turn embedded in these emotions. The cinematic connection between emotions and ethics that emerges through Laine’s detailed textual analyses confronts us with complex moral dilemmas while enriching our aesthetic experience.'' —Sarah Cooper, Professor, Film Studies Department, King's College London, UK
Animal Law is a subject which is growing rapidly. The world faces severe threats in the forms of climate crisis, biodiversity losses, pandemics, and zoonosis, and ethical considerations in relation to law and the protection of sentient beings other than humans, is of pressing importance. Animal law draws on multidisciplinary perspectives. The legal system within the Nordic countries, and the law regarding animals, provides significant and well-developed precedents and ideas which are valuable to researchers and legislators worldwide. This is the first book to closely examine the similarities and differences in the legal thinking and reality in across the Nordic countries, in relation to animals. The book is a unique and valuable a reference textbook for legal scholars, judges, animal protection authorities, lawyers, and others students and researchers interested in the topic. The book also includes a chapter on future prospects about the protection of animals from negative human impact and de lege ferenda (a basis for future law) arguments.
This book demonstrates in detail all phases of the 9th National Forest Inventory of Finland (1996–2003): the planning of the sampling design, measurements, estimation methods and results. The inventory knowledge accumulated during almost one hundred years is consolidated in the book. The purpose of the numerous examples of results is to demonstrate the diversity of the estimates and content of a national forest inventory. The most recent results include the assessment of the indicators describing the biodiversity of forests. The Finnish NFI has been and is a model for many countries worldwide. The methods and results of the book are set in the international context and are applicable globally. The book provides a valuable information source for countries, institutions and researchers planning own inventories as well as modifying the existing ones, or seeking the applicable definitions and estimation methods to use in their own inventories.
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