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Title: Characters in Film and Other Media: Theory, Analysis, Interpretation

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dc:title Characters in Film and Other Media: Theory, Analysis, Interpretation
dc:creator Jens Eder (author);Jens Eder and Stephen Lowry (translators)
dc:subject Character Theory;Film Analysis;Media Characters;Psychological Representation;Cultural Symbols;Emotional Responses
dc:description Characters are central to the creation and experience of films and other media. Their cultural significance is profound, but they also raise a wide range of questions. 
 
This book provides a comprehensive theory that guides the analysis and interpretation of characters across four dimensions: as represented beings with physical, psychological, and social characteristics; as artefacts with aesthetic structures; as meaningful symbols; and as symptoms of socio-cultural origins and effects. Integrating insights from film, media, and literary studies as well as philosophy, psychology and sociology, the book offers a broad range of approaches for understanding characters and the emotional responses they evoke. 
 
Richly illustrated and offering practical tools, along with case studies of numerous characters from different genres of films, this book will be invaluable to scholars and students of film and media studies and related disciplines, as well as artistic practitioners.
dc:date 2025-07-24T08:24:19Z
dc:rights ©2025 Jens Eder. CC BY-NC 4.0
dc:language en-GB
dc:identifier urn:uuid:e20f4317-b59c-4334-b91f-912e0c24d9df
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dcterms:modified 2025-07-28T14:46:08Z
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Outlines

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TOC Outline

  1. Cover
  2. Title page
  3. Copyright
  4. Endorsements
  5. Table of Contents
  6. Preface to the English Edition
  7. Acknowledgements
  8. List of Figures
  9. List of Diagrams
  10. List of Tables
  11. 1. Introduction
    1. 1.1 The Relationship Between Character, Action, and Plot
    2. 1.2 Why Character Analysis?
    3. 1.3 Searching for a Theoretical Foundation
    4. 1.4 The Structure of the Book
  12. PART I: THEORETICAL FOUNDATIONS (T)
  13. 2. Research on Characters: An Overview (T)
    1. 2.1 From Antiquity to the Nineteenth Century
    2. 2.2 Differentiation in the Twentieth Century
    3. 2.3 Polyphony and Possibilities of Integration in the Early Twenty-First Century
    4. 2.4 The Current State of Research
  14. 3. What Are Characters, How Are They Created and Experienced? (T)
    1. 3.1 Definition and Ontology: What Are Characters?
    2. 3.2 Communication and Meaning: How Do Characters Originate?
    3. 3.3 Reception: How Are Characters Understood and Experienced?
    4. 3.4 Consequences for the Analysis of Characters
  15. PART II: HOW TO ANALYSE CHARACTERS
  16. 4. A Basic Model for Analysis: The Character Clock
    1. 4.1 Characters as Represented Beings, Symbols, Symptoms, and Artefacts—and Their Reception
    2. 4.2 General Kinds of Characters
    3. 4.3 Expanding the Model: Contexts and Affects
    4. 4.4 Differentiating the Model: The Specificity and Mediality of Characters
    5. 4.5 Integrating the Structural Aspects: The Marriage of Maria Braun
    6. 4.6 Approaching Characters’ Realities: Yellow Fever
    7. 4.7 How to Use the Character Clock
    8. 4.8 Guidelines for Getting Started: The Most General Questions of Character Analysis
  17. PART III: CHARACTERS AS REPRESENTED BEINGS
  18. 5. Grasping Represented Beings: Forming Mental Models of Characters (T)
    1. 5.1 Character Models and Their Structure
    2. 5.2 Factors of Character Reception I: Social Perception and Cognition
    3. 5.3 Factors of Character Reception II: The Mediality of Characters
    4. 5.4 Modes of Constructing Character Models: Typification and Individualisation
  19. 6. Analysing Represented Beings: An Anthropological Heuristic
    1. 6.1 Overview: Grasping Represented Beings
    2. 6.2 Corporeality and External Behaviour
    3. 6.3 Sociality
    4. 6.4 Psyche: Inner Life and Personality
    5. 6.5 Overview: Focal Points and Connections of Character Traits
    6. 6.6 Transformation and Deconstruction of Represented Beings
    7. 6.7 Guidelines for Analysis: Questions about Characters as Represented Beings
  20. PART IV: CHARACTERS AS ARTEFACTS
  21. 7. Shaping Characters with Cinematic Means: Sensuality and Structure
    1. 7.1 Cinematic Techniques and the Aesthetics of Characters
    2. 7.2 The Structure of Character Development: How Information Is Provided
    3. 7.3 Guidelines for Analysis: Questions about Character Construction
  22. 8. Characters as Artefacts: Aesthetic Qualities and Conventions
    1. 8.1 Dimensions of Characters as Artefacts: Realism, Stereotypicality, Complexity, and Other Contested Qualities
    2. 8.2 Character Conceptions as Conventions of Representation
    3. 8.3 Conclusion and an Example: Sensory Qualities, Dramatic Composition, and Structures of Characters as Artefacts in Casablanca
    4. 8.4 Guidelines for Analysis: Questions about Artefact Qualities and Character Conceptions
  23. PART V: CHARACTERS IN CONTEXT: MOTIVATION, ACTION, AND CONSTELLATION
  24. 9. Motivation and Plot: Characters’ Needs, Goals, and Actions
    1. 9.1 Varieties of Motivation
    2. 9.2 Motivation and Conflict
    3. 9.3 Motivational Systems, Personality, and Identity
    4. 9.4 Guidelines for Analysis: Questions about Action and Motivation
  25. 10. Character Constellations as Social and Aesthetic Systems
    1. 10.1 Hierarchies of Attention: Main and Secondary Characters
    2. 10.2 The Orchestration of Characters and Their Traits: Analogies and Contrasts
    3. 10.3 Functional Relations: Characters’ Roles in Narrative and Plot
    4. 10.4 Conflict Constellations: Protagonists and Antagonists
    5. 10.5 Interactions, Relationships, and Values: The Character Constellation as a Social System
    6. 10.6 Overview: Typical Character Constellations in Different Kinds of Films
    7. 10.7 An Example: The Character Constellation in Casablanca
    8. 10.8 Guidelines for Analysis: Questions on Character Constellations and Stereotyping
  26. PART VI: CHARACTERS AS SYMBOLS AND SYMPTOMS: INTERPRETATION AND IMPACT
  27. 11. Characters as Symbols: How Characters Convey Higher-Level Meanings
    1. 11.1 Characters and Their Higher-Level Meanings
    2. 11.2 Characters in Larger Webs of Meaning
    3. 11.3 Guidelines for Analysis: Questions on Characters as Symbols
  28. 12. Characters as Symptoms: How Characters Interact with Reality
    1. 12.1 The Causes of Characters
    2. 12.2 The Uses and Effects of Characters
    3. 12.3 An Example: Characters as Symbols and Symptoms in Casablanca
    4. 12.4 Guidelines for Analysis: Questions on Characters as Symptoms
  29. PART VII: IMAGINATIVE AND AFFECTIVE INVOLVEMENT WITH CHARACTERS
  30. 13. Imaginative Involvement with Characters: A Matter of Perspective
    1. 13.1 Current Theories of Involvement with Characters
    2. 13.2 Perspective, Identification, Empathy: Conceptual Foundations
    3. 13.3 Perspectives on and with Characters
    4. 13.4 Identification and Empathy
    5. 13.5 Cinematic Methods of Shaping Perspectives
    6. 13.6 Polyphony of Perspectivation: Characters, Narrators, and Filmmakers
    7. 13.7 Common Perspective Structures in Film
    8. 13.8 Imaginative Closeness and Distance to Characters
    9. 13.9 Guidelines for Analysis: Questions on Perspective and Imaginative Closeness
  31. 14. Affective Involvement with Characters: Sympathy, Empathy, and Beyond
    1. 14.1 A Theoretical Basis: Concepts and Layers of Cinematic Affect
    2. 14.2 Cues, Dispositions, and Forms of Involvement with Characters
    3. 14.3 Perspectival Appraisal and Involvement with Represented Beings
    4. 14.4 Forms, Cues, and Contexts of Affective Involvement with Characters: An Overview
    5. 14.5 Typical Development Patterns of Affective Involvement
    6. 14.6 An Example: Affective Involvement with Characters in Casablanca
    7. 14.7 Guidelines for Analysis: Questions on Affective Involvement with Characters
  32. PART VIII: A SUMMARY AND A CASE STUDY
  33. 15. Summary: Fundamentals of Character Theory and Analysis
    1. 15.1 A Theoretical Basis and a Model for Analysis
    2. 15.2 How Can Characters Be Understood in Their Different Dimensions? A Conceptual Toolbox
    3. 15.3 Experiencing Characters: Imaginative Closeness and Affective Involvement
    4. 15.4 Limitations, Implications, and Applications of the Theory: The Variety of Characters
  34. 16. A Challenging Case: Characters and the Weight of Reality in Death and the Maiden
    1. 16.1 Characterisation and Mental Modelling in the Prologue and Exposition
    2. 16.2 Character Models and Artefact Qualities at the End of the First Act
    3. 16.3 Affective Involvement with the Characters at the First Plot Point
    4. 16.4 Conflict Structure, Motivation, and Side-Taking in the Second Act
    5. 16.5 Perspective Relations and Imaginative Closeness up to the Climax
    6. 16.6 The Characters’ Thematic Meanings at the Film’s Ending
    7. 16.7 The Characters as Artefacts and Their Mediality in Film and Theatre
    8. 16.8 Symptomatology, Evaluation, and the Weight of Reality
  35. Bibliography
  36. Filmography
  37. Index of Films
  38. Index of Topics
  39. About the team
  40. This book need not end here…
  41. You may also be interested in:
  42. Back cover

Headings Outline

  • Endorsements
  • Table of Contents1
  • Preface to the English Edition
  • Acknowledgements
  • List of Figures
  • List of Diagrams
    • (All diagrams were created by the author, unless otherwise stated.)
  • List of Tables
  • 1. Introduction
    • 1.1 The Relationship Between Character, Action, and Plot
    • 1.2 Why Character Analysis?
    • 1.3 Searching for a Theoretical Foundation
    • 1.4 The Structure of the Book
  • PART I: THEORETICAL FOUNDATIONS (T)
    • Part I
  • 2. Research on Characters: An Overview (T)
    • 2.1 From Antiquity to the Nineteenth Century
    • 2.2 Differentiation in the Twentieth Century
      • Hermeneutic and Idiosyncratic Approaches
      • Semiotic and (Post-)Structuralist Theories
      • Psychoanalytical and Feminist Theories
      • Cognitive and Media-Psychological Theories
    • 2.3 Polyphony and Possibilities of Integration in the Early Twenty-First Century
    • 2.4 The Current State of Research
  • 3. What Are Characters, How Are They Created and Experienced? (T)
    • 3.1 Definition and Ontology: What Are Characters?
    • 3.2 Communication and Meaning: How Do Characters Originate?
    • 3.3 Reception: How Are Characters Understood and Experienced?
      • Cognitive Theories of Reception
      • Levels of Character Reception
    • 3.4 Consequences for the Analysis of Characters
      • General Principles of Analysis
      • Facets of the Character as an Object of Study
  • PART II: HOW TO ANALYSE CHARACTERS
    • Part II
  • 4. A Basic Model for Analysis: The Character Clock
    • 4.1 Characters as Represented Beings, Symbols, Symptoms, and Artefacts—and Their Reception
    • 4.2 General Kinds of Characters
    • 4.3 Expanding the Model: Contexts and Affects
    • 4.4 Differentiating the Model: The Specificity and Mediality of Characters
    • 4.5 Integrating the Structural Aspects: The Marriage of Maria Braun
    • 4.6 Approaching Characters’ Realities: Yellow Fever
    • 4.7 How to Use the Character Clock
    • 4.8 Guidelines for Getting Started: The Most General Questions of Character Analysis
  • PART III: CHARACTERS AS REPRESENTED BEINGS
    • Part III
  • 5. Grasping Represented Beings: Forming Mental Models of Characters (T)
    • 5.1 Character Models and Their Structure
      • Traits of Represented Beings
      • An Example: The Exposition of Rick Blaine in Casablanca
      • Processes in Character Synthesis
    • 5.2 Factors of Character Reception I: Social Perception and Cognition
      • Character Reception as Social Perception: How Do We Understand Other Persons?
      • The Person Schema and Ideas of Human Nature (Menschenbilder)
      • Social Categorisation and Typification
      • Folk Psychology and Inner Life
      • Personality
      • Behaviour and Actions
      • Uses of and Problems with Social-Psychological Concepts in Character Analysis
    • 5.3 Factors of Character Reception II: The Mediality of Characters
    • 5.4 Modes of Constructing Character Models: Typification and Individualisation
  • 6. Analysing Represented Beings: An Anthropological Heuristic
    • 6.1 Overview: Grasping Represented Beings
    • 6.2 Corporeality and External Behaviour
      • General Appearance
      • Face, Facial Expressions, and Looking
      • Movement and Proxemics
      • Language and Paralinguistic Behaviour
      • Spatial Environments and Situational Contexts
      • An Example: The Corporeality of Rick Blaine
      • Outward Behaviour
    • 6.3 Sociality
      • Basic Concepts of the Social
      • Analysing Characters’ Social Lives
    • 6.4 Psyche: Inner Life and Personality
      • Folk-Psychological Concepts
      • Culturally and Historically Specific Ideas Relating to the Mental
      • Current Models of the Mind and Personality
      • Analysis of Character Psychology: A Heuristic and the Example of Rick Blaine in Casablanca
    • 6.5 Overview: Focal Points and Connections of Character Traits
    • 6.6 Transformation and Deconstruction of Represented Beings
    • 6.7 Guidelines for Analysis: Questions about Characters as Represented Beings
  • PART IV: CHARACTERS AS ARTEFACTS
    • Part IV
  • 7. Shaping Characters with Cinematic Means: Sensuality and Structure
    • 7.1 Cinematic Techniques and the Aesthetics of Characters
      • Character-Related Information and Cinematic Devices
      • Contexts of Medium and Genre
      • Naming
      • Casting
      • Acting
      • Audiovisual Style
      • Connections between Representational Techniques: Two Scenes as Examples
      • A Character’s Aesthetic: Sound, Image, Movement, and Rhythm
    • 7.2 The Structure of Character Development: How Information Is Provided
      • Function and Relevance of Character Information
      • Modes of Presenting Character Information
      • Distribution of Character Information in the Course of the Film
      • Phases of Characterisation
    • 7.3 Guidelines for Analysis: Questions about Character Construction
  • 8. Characters as Artefacts: Aesthetic Qualities and Conventions
    • 8.1 Dimensions of Characters as Artefacts: Realism, Stereotypicality, Complexity, and Other Contested Qualities
      • Typification and Individualisation
      • Realism and Deviations from It
      • Complexity, Consistency, Multidimensionality, and Other Artefact Dimensions
    • 8.2 Character Conceptions as Conventions of Representation
      • Mainstream Realism
      • Independent Realism
      • Postmodernism
      • Alienation, Stylisation, Fragmentation, Dissolution
    • 8.3 Conclusion and an Example: Sensory Qualities, Dramatic Composition, and Structures of Characters as Artefacts in Casablanca
    • 8.4 Guidelines for Analysis: Questions about Artefact Qualities and Character Conceptions
  • PART V: CHARACTERS IN CONTEXT: MOTIVATION, ACTION, AND CONSTELLATION
    • Part V
  • 9. Motivation and Plot: Characters’ Needs, Goals, and Actions
    • 9.1 Varieties of Motivation
      • Psychological and Textual Motivation
      • Facets of Psychological Motivation
      • Kinds of Needs, Desires, and Goals
    • 9.2 Motivation and Conflict
      • A Simplified Model of Motivational Conflicts: Outer Wants, Inner Needs, and Crucial Flaws
      • Motivation and the Structure of Conflict
      • Conflict Development, Plot Structures, and Character Arcs
      • Shifting Needs, Incompatible Desires, and Inner Conflicts
    • 9.3 Motivational Systems, Personality, and Identity
      • Thematic Significance of Characters’ Motivation and Identity
    • 9.4 Guidelines for Analysis: Questions about Action and Motivation
  • 10. Character Constellations as Social and Aesthetic Systems
    • 10.1 Hierarchies of Attention: Main and Secondary Characters
    • 10.2 The Orchestration of Characters and Their Traits: Analogies and Contrasts
    • 10.3 Functional Relations: Characters’ Roles in Narrative and Plot
    • 10.4 Conflict Constellations: Protagonists and Antagonists
    • 10.5 Interactions, Relationships, and Values: The Character Constellation as a Social System
    • 10.6 Overview: Typical Character Constellations in Different Kinds of Films
    • 10.7 An Example: The Character Constellation in Casablanca
    • 10.8 Guidelines for Analysis: Questions on Character Constellations and Stereotyping
      • Questions for the Analysis of Social Stereotyping in Film and Other Media
  • PART VI: CHARACTERS AS SYMBOLS AND SYMPTOMS: INTERPRETATION AND IMPACT
    • Part VI
  • 11. Characters as Symbols: How Characters Convey Higher-Level Meanings
    • 11.1 Characters and Their Higher-Level Meanings
    • 11.2 Characters in Larger Webs of Meaning
    • 11.3 Guidelines for Analysis: Questions on Characters as Symbols
  • 12. Characters as Symptoms: How Characters Interact with Reality
    • 12.1 The Causes of Characters
    • 12.2 The Uses and Effects of Characters
    • 12.3 An Example: Characters as Symbols and Symptoms in Casablanca
    • 12.4 Guidelines for Analysis: Questions on Characters as Symptoms
  • PART VII: IMAGINATIVE AND AFFECTIVE INVOLVEMENT WITH CHARACTERS
    • Part VII
  • 13. Imaginative Involvement with Characters: A Matter of Perspective
    • 13.1 Current Theories of Involvement with Characters
    • 13.2 Perspective, Identification, Empathy: Conceptual Foundations
      • Mental and Medial Perspectives
      • Perspective Structures and Relationships
    • 13.3 Perspectives on and with Characters
    • 13.4 Identification and Empathy
    • 13.5 Cinematic Methods of Shaping Perspectives
      • Visual and Auditive Perspective
      • Forms of Visual Subjectivity in Film
    • 13.6 Polyphony of Perspectivation: Characters, Narrators, and Filmmakers
    • 13.7 Common Perspective Structures in Film
    • 13.8 Imaginative Closeness and Distance to Characters
      • Understanding and Relationships of Perspectives
      • Spatio-Temporal Closeness
      • Parasocial Interaction and Perceived Social Relationships
      • Summary
    • 13.9 Guidelines for Analysis: Questions on Perspective and Imaginative Closeness
  • 14. Affective Involvement with Characters: Sympathy, Empathy, and Beyond
    • 14.1 A Theoretical Basis: Concepts and Layers of Cinematic Affect
    • 14.2 Cues, Dispositions, and Forms of Involvement with Characters
    • 14.3 Perspectival Appraisal and Involvement with Represented Beings
      • Appraisal According to Intersubjective Values
      • Appraisal According to Subjective, Individual, or Group-Specific Dispositions
      • Forms of Empathy and Identification
      • Situational Affects and Affective Dispositions: Sympathy, Antipathy, and Allegiance
    • 14.4 Forms, Cues, and Contexts of Affective Involvement with Characters: An Overview
    • 14.5 Typical Development Patterns of Affective Involvement
    • 14.6 An Example: Affective Involvement with Characters in Casablanca
    • 14.7 Guidelines for Analysis: Questions on Affective Involvement with Characters
  • PART VIII: A SUMMARY AND A CASE STUDY
    • Part VIII
  • 15. Summary: Fundamentals of Character Theory and Analysis
    • 15.1 A Theoretical Basis and a Model for Analysis
      • What Are Characters and How Are They Experienced?
      • A Heuristic Tool for Analysis: The Character Clock
    • 15.2 How Can Characters Be Understood in Their Different Dimensions? A Conceptual Toolbox
      • Characters as Represented Beings
      • Characters as Artefacts
      • Characters and Their Contexts
      • Characters as Symbols and Symptoms
    • 15.3 Experiencing Characters: Imaginative Closeness and Affective Involvement
    • 15.4 Limitations, Implications, and Applications of the Theory: The Variety of Characters
      • From Theory to Practice: How to Analyse and Interpret Characters
  • 16. A Challenging Case: Characters and the Weight of Reality in Death and the Maiden
    • 16.1 Characterisation and Mental Modelling in the Prologue and Exposition
    • 16.2 Character Models and Artefact Qualities at the End of the First Act
    • 16.3 Affective Involvement with the Characters at the First Plot Point
    • 16.4 Conflict Structure, Motivation, and Side-Taking in the Second Act
    • 16.5 Perspective Relations and Imaginative Closeness up to the Climax
    • 16.6 The Characters’ Thematic Meanings at the Film’s Ending
    • 16.7 The Characters as Artefacts and Their Mediality in Film and Theatre
    • 16.8 Symptomatology, Evaluation, and the Weight of Reality
  • Bibliography
  • Filmography
  • Index
    • Index of Films
    • Index of Topics
  • Contents
    • Landmarks

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Cover of Characters in Film and Other Media: Theory, Analysis, Interpretation by Jens Eder (author);Jens Eder and Stephen Lowry (translators) N/A N/A N/A cover.xhtml#epubcfi(/4/2/2) doc-cover
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A still from the 2015 science fiction film 'Ex Machina,' showing Ava, a humanoid robot with a sleek metallic and mesh-like design, holding a human-like face mask in her hands while looking at her reflection in a glass wall. The scene has a futuristic, minimalistic setting with another woman standing in the background. N/A N/A N/A partI.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container016]/6/2[Container015]/2) N/A
A diagram depicting different levels of fictional communication, including meta-representational and representational aspects. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container022]/90/2[Container020]/2) N/A
A diagram illustrating various levels of emotional responses, from basic sensations to complex narrative emotions. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container022]/190/2[Container021]/2) N/A
A scene from 'Stroszek' (1977), directed by Werner Herzog, showing a dimly lit, worn-down room with patterned wallpaper. A bald man in a green military-style jacket sits on the edge of a bed with a serious expression, while another man, partially undressed, is embracing a woman on the floor. N/A N/A N/A partII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container024]/6/2[Container023]/2) N/A
A flowchart representing the process of sensory perception leading to reflections on aesthetic and socio-cultural contexts. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/20/2[Container026]/2) N/A
A conceptual model analysing a character through symptom, artefact, represented being, and symbol. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/44/2[Container027]/2) N/A
A still from the 2002 animated documentary 'The Kid Stays in the Picture,' featuring a stylised visual of floating, colourful text set against a vibrant orange and yellow background. The words describe different character attributes such as 'BROWN HAIR,' 'PRETTY FACE,' and 'PREGNANT.' N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/68/2[Container028]/2) N/A
A black-and-white scene from the silent horror film 'The Cabinet of Dr. Caligari' (1920). A pale, eerie-looking man with white hair, dressed in a long black robe, extends his hand toward a woman holding a baby. The woman looks at him fearfully, her body turned away. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/76/2[Container029]/2) N/A
The image is a scene from the 2002 film Adaptation., directed by Spike Jonze. Inside a dimly lit elevator with brown, granite-textured walls, two characters stand in contrast. On the left, a dishevelled man, played by Nicolas Cage, wears a dark, oversized jacket. He looks downward with a hunched posture, his hands clasped together in front of him, suggesting discomfort or anxiety. On the right, a poised woman, played by Meryl Streep, stands upright with confidence. She wears glasses, a black blazer over a white ruffled blouse, and a black shoulder bag. Her facial expression appears composed and determined as she looks forward. The contrast in their body language and attire reflects the film's themes of self-doubt, creativity, and identity. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/84/2[Container030]/2) N/A
A diagram showing the contextual influences on a character, including storyworld, communication, and society. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/98/2[Container031]/2) N/A
A visual representation of character appraisal, showing different emotional responses and perspectives. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/110/2[Container032]/2) N/A
An animated image from the 2009 film 'Waltz with Bashir,' depicting a young girl with a simplistic, surreal face, hands over her chest, as she watches a TV screen displaying a blonde woman blowing a kiss. The animation has a dreamlike, hand-drawn aesthetic. N/A N/A N/A ch4.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container034]/182/2[Container033]/2) N/A
A famous still from the 1942 classic film 'Casablanca,' showing Humphrey Bogart as Rick Blaine in a white tuxedo jacket, sitting at a chessboard with a solemn expression. A glass of liquor sits on the table in front of him, and a patterned lamp casts a moody light. N/A N/A N/A partIII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container037]/6/2[Container035]/2) N/A
A structured diagram explaining the process of character synthesis, involving viewer cognition and affective reactions. N/A N/A N/A partIII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container037]/30/2[Container036]/2) N/A
A diagram categorising character elements such as psyche, sociality, behaviour, and physical action. N/A N/A N/A ch5.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container044]/60/2[Container039]/2) N/A
A model of character reception, showing cognitive and affective involvement over time. N/A N/A N/A ch5.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container044]/96/2[Container040]/2) N/A
A diagram mapping folk theories of behaviour, including mental processes, perception, and motivation. N/A N/A N/A ch5.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container044]/196/2[Container041]/2) N/A
A black-and-white scene from 'Casablanca' (1942), featuring Humphrey Bogart as Rick Blaine talking to a blonde woman in a crowded nightclub. He is wearing a white tuxedo, while the woman wears an elegant sequined dress. The background is filled with patrons, adding to the lively atmosphere. N/A N/A N/A ch5.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container044]/228/2[Container042]/2) N/A
A diagram illustrating the causal history of reasons, including intentional behaviour, enabling factors, and reasons. N/A N/A N/A ch5.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container044]/266/2[Container043]/2) N/A
A model of character situations, including self-perception, corporeality, psyche, sociality, and behavioural patterns, relevant for understanding narratives. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/62/2[Container046]/2) N/A
A classification of characters into supernatural, artificial, natural beings, and hybrids, differentiating between gods, robots, humans, and animals. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/78/2[Container047]/2) N/A
A scene from the 1943 classic film 'Lassie Come Home,' depicting a young boy in a cap hugging a Collie dog. The vibrant colours and outdoor setting enhance the warmth of the emotional connection between the boy and his loyal companion. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/84/2[Container048]/2) N/A
A vintage movie poster for 'The Little Shop of Horrors' (1960), featuring a whimsical, illustrated design with a man in a suit and bowler hat holding a small potted plant. Above him, a large, carnivorous plant with sharp teeth emerges from twisting vines. The tagline at the top reads, 'The flowers that kill in the Spring, TRA-LA.' N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/90/2[Container049]/2) N/A
A surreal space-themed artwork depicting an old, wise-looking deity with a long flowing white beard and a glowing halo, examining a mysterious cube. The background consists of a cosmic grid with planets, stars, and celestial bodies, creating a sense of vastness and higher-dimensional space. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/96/2[Container050]/2) N/A
A digital illustration representing facial expression analysis. The image is structured into four stages: a photograph of a person making a sad face, a grayscale image with numbered facial regions, a diagram showing facial motion vectors, and a final processed image with facial landmarks connected by green lines, illustrating a facial recognition or emotion detection system. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/164/2[Container051]/2) N/A
A hand-drawn animation scene featuring a cartoon wolf and an elderly woman with exaggerated facial features. The woman holds a sign that reads 'GUESS WHO?' while leaning in to kiss the wolf, who looks shocked and horrified. Above them, a blue, starry outline of a body is embedded in the ceiling. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/174/2[Container052]/2) N/A
A minimalist diagram of stick figures illustrating different body postures and their associated emotions. Each posture represents a distinct feeling, such as curiosity, rejection, excitement, or suspicion, with simple lines and minimal details. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/184/2[Container053]/2) N/A
A black-and-white still from 'Casablanca,' showing Humphrey Bogart as Rick Blaine in a white tuxedo jacket and black bow tie. He has a suave and confident expression, with a slight smirk on his lips. The background is softly blurred, with shelves of glassware visible behind him. N/A N/A N/A ch6a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/244/2[Container054]/2) N/A
A black-and-white film still of a man in a wet, torn shirt clutching his head in agony and screaming. The dramatic lighting and intense facial expression convey deep emotional distress, possibly from a tragic or shocking moment in the film. N/A N/A N/A ch6b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/116/2[Container055]/2) N/A
A black-and-white still from 'Casablanca,' showing Humphrey Bogart as Rick Blaine in a white tuxedo and black bow tie. He leans forward slightly, his facial expression serious and contemplative. The background shows a softly lit setting, likely a bar or restaurant. N/A N/A N/A ch6b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/184/2[Container056]/2) N/A
A grainy black-and-white image of three large men in suits standing in a room with a hospital bed in the background. A nurse stands behind them, looking on. The middle man appears smaller in stature compared to the other two, creating a contrast in body size. N/A N/A N/A ch6b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/258/2[Container057]/2) N/A
A grotesque, horrifying creature with a humanoid shape, large black insect-like eyes, and a decayed, fleshy appearance. It appears slimy and mutated, set against a dimly lit industrial background, evoking a sci-fi horror aesthetic. N/A N/A N/A ch6b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container059]/282/2[Container058]/2) N/A
A classic hand-drawn animation still of a cartoon duck with a black body, orange beak, and a tuft of feathers on its head, gripping onto the tip of a large pencil. The duck appears to be hanging onto the pencil for dear life, with a slightly panicked expression. The background is a simple, light gradient. N/A N/A N/A partIV.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container063]/6/2[Container060]/2) N/A
A structural representation of character design, linking concrete depiction methods to abstract characterisation and general artefact qualities. N/A N/A N/A partIV.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container063]/18/2[Container061]/2) N/A
A split-screen comparison of two nearly identical shots of a young man with a serious expression, and a focused gaze. The lighting and sharpness are slightly different in each image. N/A N/A N/A partIV.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container063]/34/2[Container062]/2) N/A
A diagram exploring character representation as a symbol and symptom, including directly and indirectly portrayed traits, reception, and production aspects. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/44/2[Container065]/2) N/A
A 3D animated scene from the film 'Shrek' featuring Shrek, Princess Fiona in her wedding dress, and Lord Farquaad inside a grand cathedral with large stained-glass windows. Fiona appears to be angrily confronting Shrek while Farquaad looks on. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/60/2[Container066]/2) N/A
A tinted still from the silent film 'The Most Dangerous Game' (1932), depicting a man with a frightened expression hiding under tangled branches in a dark jungle setting. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/88/2[Container067]/2) N/A
A scene from the German silent horror film 'The Cabinet of Dr. Caligari' (1920), featuring a sinister-looking man with round glasses, disheveled white hair, and a tall black hat, illuminated in a sepia tone. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/122/4[Container068]/2) N/A
A vintage photograph showing the lower bodies of two men sitting on stairs, with one wearing platform shoes that appear to be modified for added height. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/132/2[Container069]/2) N/A
A black-and-white instructional drawing of eyes, demonstrating the effect of eyeshadow on eye shape. The top image shows how eyeshadow can narrow the eyes, while the bottom image illustrates how it can widen them. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/144/2[Container070]/2) N/A
A movie poster for 'The Royal Tenenbaums' (2001), featuring a family of characters dressed in eccentric and formal attire, with a distinct colour palette and symmetrical composition. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/152/2[Container071]/2) N/A
A still from the film 'The Double Life of Veronique' (1991), featuring a young woman in a coat and red beret standing alone in a dimly lit stairwell, framed by metal bars, creating a sense of isolation. N/A N/A N/A ch7.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container073]/196/2[Container072]/2) N/A
A black-and-white still from an early Western silent film, showing a man in a traditional Mexican charro outfit with an exaggerated sinister grin and an intense expression, possibly a villainous character. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/58/2[Container075]/2) N/A
A typology of characters, from stereotypes and archetypes to individualised characters, organised along a gradual spectrum of evaluation and cultural spread. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/72/2[Container076]/2) N/A
A conceptual framework of character synthesis, showing how represented traits, form, and abstraction contribute to a generalised character model. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/178/2[Container077]/2) N/A
A black-and-white cinematic shot from Michelangelo Antonioni's 'L'Avventura' (1960), featuring a man and a woman standing by the sea with the wind dramatically affecting their hair, symbolising emotional distance and isolation. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/222/2[Container078]/2) N/A
An iconic dance scene from Quentin Tarantino's 1994 film 'Pulp Fiction', featuring John Travolta as Vincent Vega. He strikes a playful pose while dancing at Jack Rabbit Slim's, a retro-themed restaurant. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/242/2[Container079]/2) N/A
A minimalist, abstract digital artwork featuring a single continuous line forming an outline of a figure in motion, possibly inspired by film or animation. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/278/2[Container080]/2) N/A
A close-up shot of Ingrid Bergman from 'Casablanca' (1942). She appears emotional, with expressive eyes and a soft, glowing black-and-white cinematographic effect. N/A N/A N/A ch8.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container082]/322/2[Container081]/2) N/A
A scene from 'Imitation of Life' (1959), a drama about race and identity. The image shows three women in a kitchen, with complex emotions and tensions visible in their body language. N/A N/A N/A partV.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container085]/6/2[Container083]/2) N/A
A structural model outlining the narrative functions of characters in terms of motivation, relationships, textual structures, and thematic meaning. N/A N/A N/A partV.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container085]/16/2[Container084]/2) N/A
A colourful and surreal scene from a Bollywood film, featuring a male character in a red shirt performing an exaggerated dance move while a woman dressed as a mermaid dances in the background. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/50/2[Container087]/2) N/A
A famous still from the 1929 surrealist short film 'Un Chien Andalou' by Luis Buñuel and Salvador Dalí. The disturbing close-up captures a moment before an eye is seemingly cut open, a key element of its shocking imagery. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/56/2[Container088]/2) N/A
A breakdown of character intentions, decisions, goals, and background traits, linking these elements to narrative and aesthetic functions. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/72/2[Container089]/2) N/A
A depiction of how inner needs, outer goals, backstory, and key flaws interact to either reinforce or conflict with one another in character development. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/174/2[Container090]/2) N/A
A flowchart illustrating character conflict and motivation, including goals, opposition, and risk. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/184/2[Container091]/2) N/A
A scene from 'The Mother and the Whore' (1973), a French film by Jean Eustache. It features three characters sitting together, displaying tense and introspective expressions, reflecting the film?s complex emotional themes. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/218/2[Container092]/2) N/A
A conceptual diagram depicting the conflict between security and freedom, integrating love, time, and societal pressures. N/A N/A N/A ch9.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container094]/226/2[Container093]/2) N/A
A still from 'I ? Huckabees' (2004), a philosophical comedy-drama by David O. Russell. The image features two characters engaged in a deep conversation, with a fragmented, surreal visual effect applied to one character?s face. N/A N/A N/A ch10.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container101]/22/2[Container096]/2) N/A
A character trait comparison table showing attributes such as ambition, altruism, humour, and morality across multiple individuals. N/A N/A N/A ch10.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container101]/94/2[Container097]/2) N/A
A schematic representation of narrative roles, including protagonist, antagonist, helpers, and deciders in a story structure. N/A N/A N/A ch10.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container101]/152/2[Container098]/2) N/A
A character relationship diagram mapping interactions between figures such as Rick, Ilsa, Victor, and supporting cast. N/A N/A N/A ch10.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container101]/262/2[Container099]/2) N/A
A famous scene from the 1942 classic film 'Casablanca', featuring a group of people in a Moroccan nightclub. The atmosphere is tense as patrons, including soldiers, watch a musical performance. N/A N/A N/A ch10.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container101]/280/2[Container100]/2) N/A
A cover of 'Today?s Women Magazine' featuring a model in an action-themed photoshoot. She wears a tactical outfit with a gun holster, styled similarly to the character Lara Croft from 'Tomb Raider'. N/A N/A N/A partVI.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container103]/6/2[Container102]/2) N/A
A close-up black and white image from 'Citizen Kane' (1941), showing the mustached lips of Charles Foster Kane as he utters his last word, 'Rosebud.' The image is grainy, symbolizing the film?s theme of memory and loss. N/A N/A N/A ch11.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container106]/10/2[Container105]/2) N/A
A black and white propaganda film still from 'Jud Süß' (1940), a Nazi-era antisemitic film. The image features a close-up of a man with a thick beard and piercing eyes, staring intensely. The gothic-style German text below reads the film?s title, reinforcing the film's propaganda themes. N/A N/A N/A ch12.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container113]/18/2[Container108]/2) N/A
A framework analysing characters as social and cultural symptoms within media contexts, addressing ideologies and influences. N/A N/A N/A ch12.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container113]/56/2[Container109]/2) N/A
A classic animated still from 'Tex Avery?s Red Hot Riding Hood' (1943), featuring a cartoon wolf dressed in a tuxedo at a nightclub table. He is humorously reacting with exaggerated excitement to a glamorous red-haired woman in a strapless dress. N/A N/A N/A ch12.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container113]/70/2[Container110]/2) N/A
A scene from 'Star Wars: Episode I ? The Phantom Menace' (1999), featuring a close-up of Watto, a CGI-animated alien character with elephantine features, small wings, and a gruff expression. The dimly lit background suggests a marketplace or junk shop. N/A N/A N/A ch12.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container113]/108/2[Container111]/2) N/A
An old advertisement featuring Humphrey Bogart in a trench coat. The vintage illustration conveys a mid-20th-century fashion aesthetic, likely promoting a stylish and sophisticated male image. N/A N/A N/A ch12.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container113]/158/2[Container112]/2) N/A
A still from 'Taxi Driver' (1976), showing Travis Bickle?s eyes reflected in the rearview mirror of his cab. The blurred neon city lights in the background evoke the loneliness and alienation of urban life. N/A N/A N/A partVII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container116]/6/2[Container114]/2) N/A
A diagram outlining aspects of character reception, including synthesis, viewer engagement, and symbolic interpretations. N/A N/A N/A partVII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container116]/28/2[Container115]/2) N/A
A structural chart exploring perspectives in narratives, detailing authorial intent, viewer perception, and mental experiences. N/A N/A N/A ch13a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/166/2[Container118]/2) N/A
A model illustrating perspective-taking in storytelling, contrasting viewer and character viewpoints on narrative elements. N/A N/A N/A ch13a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/178/2[Container119]/2) N/A
A black and white image from 'Casablanca' (1942), showing a cheque from 'Rick's Café Américain' being signed. The document is handwritten and underlines the financial dealings within the narrative. N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/26/2[Container120]/2) N/A
A classic scene from 'Casablanca' (1942), showing Humphrey Bogart as Rick Blaine in a white tuxedo, sitting at a table with a chessboard and a glass. His serious expression conveys the film?s melancholic and strategic undertones. N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/30/2[Container121]/2) N/A
A black and white still from 'Casablanca' (1942), depicting a scene inside Rick's Café Américain. The perspective is from behind Rick as he watches a new group of arrivals enter, hinting at the drama and intrigue unfolding in the setting. N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/34/2[Container122]/2) N/A
A scene from 'Taxi Driver' (1976), showing a young man with dark hair and a beard, wearing a black t-shirt and jeans, sitting against a wall. He looks contemplatively at a blonde woman in a white dress walking past him. The urban background captures 1970s New York City. N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/90/2[Container123]/2) N/A
An overhead shot of a dimly lit room, showing a man lying motionless on the floor, a woman sitting on a couch, and a bed with bloodstained sheets. The setting is eerie and suggests violence. This is from 'Death and the Maiden' (1994). N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/104/2[Container124]/2) N/A
A conceptual map outlining factors influencing audience closeness to characters, from social comparison to affective engagement. N/A N/A N/A ch13b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container126]/156/2[Container125]/2) N/A
A conceptual diagram illustrating the different dimensions of character evaluation. It includes perspectives such as the character as a represented being, as an artefact, as a symbol, and as a symptom, highlighting their impact on audiences through sympathy, empathy, curiosity, and socio-cultural meaning. N/A N/A N/A ch14a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container133]/76/2[Container128]/2) N/A
A diagram focusing on affective involvement with represented beings. It outlines different types of emotional engagement, such as perspectival appraisal, general affective reactions, and responses to filmic elements like style, narrative, and meaning. N/A N/A N/A ch14a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container133]/108/2[Container129]/2) N/A
A structured diagram showcasing different perspectives of character engagement, including external and internal perspectives, situational siding, and various forms of affective appraisal such as sympathy, antipathy, and empathy. The diagram includes categories like intersubjective norms, group-specific interests, and situational closeness. N/A N/A N/A ch14a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container133]/134/2[Container130]/2) N/A
A monstrous black alien creature with elongated limbs and a sleek, biomechanical design appears in a futuristic spaceship setting. This is from 'Alien 3' (1992). N/A N/A N/A ch14a.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container133]/178/2[Container131]/2) N/A
A black-and-white classic film scene of a man in a fedora and trench coat speaking intensely to a woman in a hat, their faces inches apart. This is from 'Casablanca' (1942). N/A N/A N/A ch14b.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container133]/106/2[Container132]/2) N/A
A woman with short hair holds a gun under a bloodied man's chin while a third man watches in the background holding a drink. The lighting is dark and intimate, adding to the tension. This is from 'Death and the Maiden' (1994). N/A N/A N/A partVIII.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container135]/6/2[Container134]/2) N/A
A complex diagram dissecting the multidimensional aspects of character representation, including mental models, artefact properties, socio-cultural contexts, and aesthetic forms. It also incorporates narrative structures, corporeal and psychological traits, as well as creators' and audience influences. N/A N/A N/A ch15.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container138]/52/2[Container137]/2) N/A
A film poster for 'Death and the Maiden' (1994), featuring Sigourney Weaver and Ben Kingsley in an intense confrontation. She holds his face while pointing a gun at him. The tagline reads: 'Tonight, mercy will be buried with the past.' N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/14/2[Container140]/2) N/A
A close-up of two hands tightly clasped together, one belonging to a man in a suit. A programme or document titled 'Death and the Maiden' is partially visible in the corner. This is from 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/36/2[Container141]/2) N/A
A woman in an elegant dark dress sits in a theatre, looking tense. A man in glasses and a suit sits beside her, eyeing her cautiously. The audience is visible in the background. This is from 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/40/2[Container142]/2) N/A
A woman in a dark jacket holds a gun, aiming at a bloodied and tied-up man in a dimly lit room. A man in a robe stands near the doorway, looking alarmed. This is from 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/182/2[Container143]/2) N/A
A simple diagram displaying the names 'Miranda', 'Gerardo' and 'Paulina'. N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/192/2[Container144]/2) N/A
A close-up of a woman with short dark hair, looking serious and intense. The dim lighting and background suggest an ominous or dramatic moment. This image is from the film 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/288/2[Container145]/2) N/A
A bald man with a bloodied and bandaged forehead is held by a pair of hands, his expression a mix of pain and defiance. The backdrop features a rugged coastline under an overcast sky. This image is from 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/292/2[Container146]/2) N/A
A group of people sit in a theatre box, watching a performance. A young boy in the foreground leans on the railing, looking bored, while a bald man in a suit beside him appears deep in thought. A woman and another boy sit behind them, with a programme visible. This is from 'Death and the Maiden' (1994). N/A N/A N/A ch16.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container148]/300/2[Container147]/2) N/A
Bluesky logo N/A N/A N/A donate.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container161]/16/4/4/2/2/2/2) N/A
Mastodon logo N/A N/A N/A donate.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container161]/16/4/4/2/4/2/2) N/A
LinkedIn logo N/A N/A N/A donate.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container161]/16/4/4/2/6/2/2) N/A
Featured book cover N/A N/A N/A further-reading.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container170]/4/4/2) N/A
Featured book cover N/A N/A N/A further-reading.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container170]/6/4/2) N/A
Featured book cover N/A N/A N/A further-reading.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container170]/8/4/2) N/A
Featured book cover N/A N/A N/A further-reading.xhtml#epubcfi(/4[Eder-0283-23July]/2[Container170]/10/4/2) N/A
Back cover of Characters in Film and Other Media: Theory, Analysis, Interpretation by Jens Eder (author);Jens Eder and Stephen Lowry (translators) N/A N/A N/A back-cover.xhtml#epubcfi(/4/2/2) N/A

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