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  1. Re-Living Suspense: Emotional and Cognitive Responses During Repeated Exposure to Suspenseful Film.Changui Chun, Byungho Park & Chungkon Shi - 2020 - Frontiers in Psychology 11.
    Arguments about the effects of repeated exposure to a suspenseful narrative raise controversial disputes over the paradox of suspense. The lexical meaning and theoretical analyses of suspense imply that suspense cannot be experienced repeatedly because, in such cases, the knowledge from prior viewings and the resolution of outcome will eliminate tension and suspense. However, previous studies have argued that suspense can be re-experienced even when the participants know the outcome or repeatedly confront a suspenseful narrative. This study investigated the effects (...)
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  • Confronting a Paradox: A New Perspective of the Impact of Uncertainty in Suspense.Pablo Delatorre, Carlos León, Alberto Salguero, Manuel Palomo-Duarte & Pablo Gervás - 2018 - Frontiers in Psychology 9.
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  • (1 other version)Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  • The Paradox of Suspense Realism.Christy Mag Uidhir - 2011 - Journal of Aesthetics and Art Criticism 69 (2):161-171.
    Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...)
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  • The Puzzle of Multiple Endings.Florian Cova & Amanda Garcia - 2015 - Journal of Aesthetics and Art Criticism 73 (2):105-114.
    Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...)
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  • The Paradox of Suspense.Aaron Smuts - 2009 - Stanford Encyclopedia of Philosophy 2009 (6.1):1-15.
    The ultimate success of Hollywood blockbusters is dependent upon repeat viewings. Fans return to theaters to see films multiple times and buy DVDs so they can watch movies yet again. Although it is something of a received dogma in philosophy and psychology that suspense requires uncertainty, many of the biggest box office successes are action movies that fans claim to find suspenseful on repeated viewings. The conflict between the theory of suspense and the accounts of viewers generates a problem known (...)
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  • Toward a general psychological model of tension and suspense.Moritz Lehne & Stefan Koelsch - 2015 - Frontiers in Psychology 6:118396.
    Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...)
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  • La Paradoja del Suspenso Anómalo.Gemma Arguello Manresa - 2016 - Daimon: Revista Internacional de Filosofía 68:49-65.
    Resumen: En este trabajo se aborda lo que en los debates recientes de filosofía del cine se ha denominado la paradoja del suspenso. Esta paradoja radica en el problema de que algunos espectadores sienten suspenso frente a una narración que ya conocían, partiendo del presupuesto de que la incertidumbre es un estado cognitivo necesario para sentir esta emoción. Se analizan varias propuestas recientes y se ofrece una alternativa a la mismas en la que se recupera la simpatía y la anticipación (...)
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  • “Play it again, Sam”. A differentiating view on repeated exposure to narrative content in media.Jella Hoffmann - 2006 - Communications 31 (3):389-403.
    Whereas repeated exposure to communication is a widespread phenomenon, it has so far received little attention in communication research. This article takes a step towards describing, differentiating, and explaining repeated exposure to communication. It discusses different forms of repeated exposure and then focuses on repeated exposure to narrative films. It explores possible motivations for reusing the same media content again and again, while taking processes of repeated exposure as well as situational and personal variables into account. The initially theoretical considerations (...)
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