Titlebook: Empathetic Space on Screen; Constructing Powerfu Amedeo D‘Adamo Textbook 2018 The Editor(s) (if applicable) and The Author(s) 2018 empathet

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On Collapsing Boundaries Between Protagonist and Antagonist: Dante’s Tricks and Others in , and , annd the film . offer . whose inner conflict can be interpreted in two ways, and that this prismatic nature also makes the spaces of these narratives prismatic, making us unsure at times whether they are real or are projections of the person’s own conflicted character.

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Alienated Spaces: DeathStarchitecture in ,, Bleached Space and Dialogue in ,, Showroom Space in , ancharacters who pursue largely external goals, a very different effect happens when these same attributes appear in films and television shows with Dramatic characters who possess inner conflicts. In ., ., . and . similar alienation devices instead convey a inner lack, despair and need specific to and reflecting the story’s protagonist.

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The Library of All Stories: Purgatory, Therapy and Character Arcs in Dante and in , and ,, in Camus’En-Scene of a film or television show. This shows how framing can link many otherwise disparate elements in a film to communicate deep empathetic aspects of a character’s relationship to her space: this is illustrated in the film .. We then use these tools to examine Poe’s Dantean short stories, Murnau’s film . and the Dantean Spaces of ..

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The Empty Man of Action vs. The Active Heart: Dispassionate and Dramatic Characters from , and , to external goals and lack intimacy, which limits their empathetic response while pushing their Spaces towards spectacular adrenalynic engines. By contrast . (the most common form of character) possess both external and internal goals. In Dramatic characters internal conflicts create the possibilities

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The Frozen Ones: Dantean Moments, Characters and Space in the films ,, , and Othersigh emotional intensity that connects him to a place and time who then perceives the world and behaves as if still partly stuck in that experience. A Dantean space is a subjective narrative space that is both in the present and also in some sense imbued with a past experience so that it reveals the

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The Library of All Stories: Purgatory, Therapy and Character Arcs in Dante and in , and ,, in Camus’comes after which a character has no character arc change). Through comparing Camus’ . to the film ., we distinguish. from., then make the different distinction between. and. hells. A typology of framing techniques is proposed that reveals how a character’s struggle is realized spatially in the Mis-