Cinema and cognitive psychology.

Cognitivism : quests and questionings / Dudley Andrew --
A case for cognitivism / David Bordwell --
The conception of relocating pictures / Julian Hochberg --
Restoring the that means in cinematic move : what's the textual content in a dance movie? / Virginia Brooks --
Paradigms for cognitivism? : the conception of circulate and picture choreography / Marcia butzel --
When is a textual content? / Dirk Eitzen --
Michel Colin : de los angeles grammaire générative à l. a. psycholgie cognitive / Odile Bächler --
Travaux par Michel Colin --
Intruduction à une sémiologie générative du movie / Michel Colin --
A generative semiology of movie : to what finish? / Michel Colin --
Review of Colin's Langue, movie, discours --
Reviews of books and meetings.

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The controlling intelligence (ego) confronts its dual nature (the bad and the ugly) in the labyrinth of the unconscious (Sad Hill). It disposes of evil altogether, thereby canceling the previous duality. “Ugly” is thus reigned into the ego’s service (disarmed but still useful), facilitating the ego’s business in the unconscious realm (having got him to locate the grave, Blondy has Tuco dig up the gold). Once the ugly has served its purpose, it is left behind. “Ugly” is the final mask which the ego wears in order to navigate the underworld.

No Name is playing out his role as merciless avenger for the last time, but ironically, all for show. He is no longer driven by the old revenger urges, or by genre conventions, but is only enjoying a last laugh at Tuco’s expense, giving him a taste of his own medicine. When No Name/Blondy reappears on the horizon, Tuco’s relief is rapidly curtailed by his realization that Blondy intends to make the shot (and so sever the rope around Tuco’s neck) from an 1. The Occult Text: The Good, the Bad, and the Ugly 31 The three aspects of the psyche vie for supremacy: Tuco (Eli Wallach), Angel Eyes (Lee Van Cleef ) and Blondy (Clint Eastwood) face-off in The Good, the Bad and the Ugly (1966, United Artists).

Blondy has power enough now with Tuco by his side. ) Blondy’s actual turnaround, we might note, coincides with his one and only tender moment until 1. The Occult Text: The Good, the Bad, and the Ugly 27 now, when he is seen stroking a kitten in an abandoned building, so acknowledging his capacity for kindness. The kitten as it were awakens Blondy’s conscience as to the destructive dangers of power, the need to apply tenderness to keep a balance. He foregoes mere mercenary (ego) convenience for the chance of a little camaraderie with Tuco.

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