[Allen, Robert C. (1992) ‘Audience-Oriented Criticism and Television’, in Robert C. Allen (ed.) Channels of Discourse, Reassembled. Television and Contemporary Criticism, 2nd ed London: Routledge, pp. 101-137.]Search in Google Scholar
[Andringa, Els (2004) ‘The Interface between Fiction and Life: Patterns of Identification in Reading Autobiographies’, Poetics Today, 25: 2, pp. 205-240.10.1215/03335372-25-2-205]Search in Google Scholar
[Ang, Ien (1985) Watching Dallas. Soap Opera and the Melodramatic Imagination. London: Routledge.]Search in Google Scholar
[Batson, C. Daniel, Shannon Early & Giovanni Salvarani (1997) ‘Perspective Taking: Imagining How Another Feels Versus Imagining How You Would Feel’, Personality and Social Psychology Bulletin, 23: 7, pp. 751-758.10.1177/0146167297237008]Search in Google Scholar
[Carroll, Noël (1998a) A Philosophy of Mass Art. Oxford: Clarendon Press.]Search in Google Scholar
[Carroll, Noël (1998b) ‘Art, Narrative, and Moral Understanding’, in Jerrold Levinson (ed.) Aesthetics and Ethics. Essays at the Intersection. Cambridge: Cambridge University Press, pp. 126-160.10.1017/CBO9780511663888.005]Search in Google Scholar
[Charlton, Michael, Corinna Pette & Christina Burbaum (2004) ‘Reading Strategies in Everyday Life: Different Ways of Reading a Novel Which Make a Distinction’, Poetics Today, 25: 2, pp. 241-263.10.1215/03335372-25-2-241]Search in Google Scholar
[Cohen, Ted (1999) ‘Identifying with Metaphor: Metaphors of Personal Identification’, The Journal of Aesthetics and Art Criticism, 57: 4, pp. 399-409.10.1111/1540_6245.jaac57.4.0399]Search in Google Scholar
[Coplan, Amy (2006) ‘Caring About Characters: Three Determinants of Emotional Engagement’, Film and Philosophy, vol. 10, pp. 1-19.10.5840/filmphil2006102]Search in Google Scholar
[Currie, Gregory (1997) ‘The Paradox of Caring: Fiction and the Philosophy of Mind’, in Mette Hjort & Sue Laver (eds.) Emotion and the Arts. New York: Oxford University Press, pp. 63-77.]Search in Google Scholar
[Currie, Gregory (1998) ‘Realism of Character and the Value of Fiction’, in Jerrold Levinson (ed.) Aesthetics and Ethics. Essays at the Intersection. Cambridge: Cambridge University Press, pp. 161-181.10.1017/CBO9780511663888.006]Search in Google Scholar
[Currie, Gregory (1999) ‘Narrative Desire’, in Carl Plantinga & Greg M. Smith (eds.) Passionate Views. Film, Cognition, and Emotion. Baltimore: The Johns Hopkins University Press, pp. 183-199.]Search in Google Scholar
[Currie, Gregory (2004) Arts and Minds. Oxford: Clarendon Press10.1093/0199256284.001.0001]Search in Google Scholar
[de Wied, Minet, Dolf Zillmann & Virginia Ordman (1994) ‘The Role of Empathic Distress in the Enjoyment of Cinematic Tragedy’, Poetics, 23, pp. 91-106.10.1016/0304-422X(94)00010-4]Search in Google Scholar
[Ekman, Paul ([1972]1982) Emotion in the Human Face, 2nd edition, Cambridge: Cambridge University Press.]Search in Google Scholar
[Ekman, Paul (2003) Emotions Revealed. Understanding Faces and Feelings. London: Phoenix.]Search in Google Scholar
[Feagin, Susan L. (1996) Reading with Feeling. The Aesthetics of Appreciation. Ithaca: Cornell University Press.10.7591/9781501721465]Search in Google Scholar
[Frijda, Nico H. (1986) The Emotions. Cambridge, Mass.: Cambridge University Press.]Search in Google Scholar
[Frijda, Nico H. (1988) ‘The Laws of Emotion’, American Psychologist, 43:5, pp. 349-358.10.1037/0003-066X.43.5.349]Search in Google Scholar
[Gaut, Berys (1998) ‘The Ethical Criticism of Art’, in Jerrold Levinson (ed.) Aesthetics and Ethics. Essays at the Intersection. Cambridge: Cambridge University Press, pp. 182-203.10.1017/CBO9780511663888.007]Search in Google Scholar
[Gerrig, Richard J. (1993) Experiencing Narrative Worlds. On the Psychological Activities of Reading. New Haven: Westview.10.12987/9780300159240]Search in Google Scholar
[Goldie, Peter (2000) The Emotions. A Philosophical Exploration. Oxford: Clarendon Press.]Search in Google Scholar
[Goldman, Alvin I. (2006) Simulating Minds. The Philosophy, Psychology, and Neuroscience of Mindreading. New York: Oxford University Press.10.1093/0195138929.001.0001]Search in Google Scholar
[Green, Melanie C., Timothy C. Brock & Geoff F. Kaufman (2004) ‘Understanding Media Enjoyment: The Role of Transportation Into Narrative Worlds’, Communication Theory, 14: 4, pp. 311-327.10.1111/j.1468-2885.2004.tb00317.x]Search in Google Scholar
[Grodal, Torben Kragh (1997) Moving Pictures. A New Theory of Film Genres, Feelings, and Cognition. Oxford: Clarendon Press.]Search in Google Scholar
[Grodal, Torben Kragh (2000) ‘Subjectivity, Objectivity and Aesthetic Feelings in Film’, in Ib Bondebjerg (ed.) Moving Images, Culture and the Mind, Luton: University of Luton Press, pp. 87-104.]Search in Google Scholar
[Hanich, Julian (forthcoming) ‘A Weep in the Dark: Tears and The Cinematic Experience’, Passionate Politics. The Cultural Work of American Melodrama From the Early Republic to the Present, Newcastle: Cambridge Scholars Publishing.]Search in Google Scholar
[Harper, Sue & Vincent Porter (1996) ‘Moved to Tears: Weeping in the Cinema in Postwar Britain’, Screen, 37: 2, pp. 152-173.10.1093/screen/37.2.152]Search in Google Scholar
[Hoffman, Martin L. (2000) Empathy and Moral Development. Implications for Caring and Justice. Cambridge: Cambridge University Press.10.1017/CBO9780511805851]Search in Google Scholar
[Höijer, Birgitta (1998) ‘Social Psychological Perspectives in Reception Analysis’, in Roger Dickinson, Ramaswami Harindranath & Olga Linné (eds.) Approaches to Audiences. A Reader. London: Arnold, pp. 166-183.]Search in Google Scholar
[Ickes, William (2003) Everyday Mindreading. Understanding What Other People Think and Feel. Amherst, NY: Prometheus Books.]Search in Google Scholar
[Ickes, William, Paul R. Gesn & Tiffany Graham (2000) ‘Gender Differences in Empathic Accuracy: Differential Ability or Differential Motivation?” Personal Relationships, nr. 7, pp. 95-109.]Search in Google Scholar
[Keen, Suzanne (2007) Empathy and the Novel. New York: Oxford University Press.10.1093/acprof:oso/9780195175769.001.0001]Search in Google Scholar
[Klinger, Barbara (2006) ‘The Art Film, Affect and the Female Viewer: The Piano Revisited’, Screen, 47: 1, pp. 19-41.10.1093/screen/hjl002]Search in Google Scholar
[Kuhn, Annette (2002) Dreaming of Fred and Ginger. Cinema and Cultural Memory. New York: New York University Press.]Search in Google Scholar
[Kuiken, Don, David S. Miall & Shelley Sikora (2004) ‘Forms of Self-Implication in Literary Reading’, Poetics Today, 25: 2, pp. 171-203.10.1215/03335372-25-2-171]Search in Google Scholar
[Lazarus, Richard S. (1991) Emotion and Adaptation. New York: Oxford University Press.]Search in Google Scholar
[Lazarus, Richard S. & Elizabeth Alfert (1964) ‘Short-Circuiting of Threat by Experimentally Altering Cognitive Appraisal’, Journal of Abnormal and Social Psychology, 69: 2, pp. 195-205.10.1037/h0044635]Search in Google Scholar
[Miall, David S. & Don Kuiken (1995) ‘Aspects of Literary Response: A New Questionnaire’, Research in the Teaching of English, 29: 1, pp. 37-58.]Search in Google Scholar
[Miall, David S. & Don Kuiken (2001) ‘Shifting Perspectives: Readers’ Feelings and Literary Response’, in Willie van Peer & Seymour Chatman (eds.) New Perspectives on Narrative Perspective. Albany, NY: State University of New York Press, pp. 289-301.]Search in Google Scholar
[Miall, David S. & Don Kuiken (2002) ‘A Feeling for Fiction: Becoming What We Behold’, Poetics, 30, pp. 221-241.10.1016/S0304-422X(02)00011-6]Search in Google Scholar
[Nagel, Thomas (1974) ‘What Is It Like To Be A Bat?’, The Philosophical Review 83: 4, pp. 435-450.10.2307/2183914]Search in Google Scholar
[Nussbaum, Martha C. (1986) The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy. Cambridge: Cambridge University Press.]Search in Google Scholar
[Oatley, Keith (1994) ‘A Taxonomy of the Emotions of Literary Response and a Theory of Identification in Fictional Narrative’, Poetics, 23, pp. 53-74.10.1016/0304-422X(94)P4296-S]Search in Google Scholar
[Oatley, Keith (2002) ‘Emotions and the Story Worlds of Fiction’, in Melanie C. Green, Jeffrey J. Strange & Timothy C. Brock (eds.) Narrative Impact. Social and Cognitive Foundations. Mahwah, NJ: Lawrence Erlbaum, pp. 39-69.]Search in Google Scholar
[Oatley, Keith & Mitra Gholamain (1997) ‘Emotions and Identification: Connections Between Readers and Fiction’, in Mette Hjort & Sue Laver (ed.) Emotion and the Arts. New York: Oxford University Press, pp. 263-281.]Search in Google Scholar
[Plantinga, Carl (1999) ‘The Scene of Empathy and the Human Face on Film’, in Carl Plantinga & Greg M. Smith (eds.) Passionate Views. Film, Cognition, and Emotion. Baltimore: The Johns Hopkins University Press, pp. 239-255.]Search in Google Scholar
[Radford, Colin (1975) ‘How Can We Be Moved By the Fate of Anna Karenina?’, The Aristotelian Society, suppl. Vol. XLIX, pp. 67-80.10.1093/aristoteliansupp/49.1.67]Search in Google Scholar
[Robinson, Jenefer (2005) Deeper than Reason. Emotions and its Role in Literature, Music, and Art. Oxford: Clarendon Press.10.1093/0199263655.001.0001]Search in Google Scholar
[Smith, Greg M. (2003) Film Structure and the Emotion System. Cambridge: Cambridge University Press.10.1017/CBO9780511497759]Search in Google Scholar
[Smith, Murray (1995) Engaging Characters. Fiction, Emotion, and the Cinema. Oxford: Clarendon Press.]Search in Google Scholar
[Smith, Murray (2006) ‘Empathy and the Extended Mind’ draft presented at the Narration and Spectatorship in Moving Images Conference, 22.07.2006 Potsdam, Germany, forthcoming in Amy Coplan & Peter Goldie (eds.) Empathy: Philosophical and Psychological Perspectives. Oxford University Press.]Search in Google Scholar
[Sprengnether, Madelon (2002) Crying at the Movies. A Film Memoir. Saint Paul, Minnesota: Graywolf Press.]Search in Google Scholar
[Staiger, Janet (1992) Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton, NJ: Princeton University Press.10.1515/9780691216065]Search in Google Scholar
[Staiger, Janet (2000) Perverse Spectators. The Practices of Film Reception. New York: New York University Press.]Search in Google Scholar
[Tan, Ed S. (1996) Emotion and the Structure of Narrative Film. Film as an Emotion Machine. Mahwah, NJ: Lawrence Erlbaum.]Search in Google Scholar
[Vaage, Margrethe Bruun (2005) ‘Fiksjonsfilm, innlevelse og selvreferanse’ Norsk Filosofisk Tidsskrift nr. 2, pp. 124-137.10.18261/ISSN1504-2901-2005-02-04]Search in Google Scholar
[Vaage, Margrethe Bruun (2007a) ‘Levende bilder: Hvorfor empati er viktig for vellykket innlevelse i fiksjonsfilm’, Norsk Medietidsskrift, vol. 14, nr. 1, pp. 27-48.10.18261/ISSN0805-9535-2007-01-03]Search in Google Scholar
[Vaage, Margrethe Bruun (2007b) ‘Empathie. Zur Episodishen Struktur der Teilhabe am Spielfilm’, Montage/AV, vol. 16, nr.1, 2007, pp.101-120.]Search in Google Scholar
[Vaage, Margrethe Bruun (2007c) “Empathy and the Episodic Structure of Engagement in Fiction Film” in Joseph D. Anderson & Barbara Fisher Anderson (eds.) Narration and Spectatorship in Moving Images, Newcastle: Cambridge Scholars Publishing, pp. 186-203.]Search in Google Scholar
[Vaage, Margrethe Bruun (2009) “The Role of Empathy in Gregory Currie’s Philosophy of Film” British Journal of Aesthetics, 49: 2, 2009, pp. 109-128.10.1093/aesthj/ayp005]Search in Google Scholar
[Walton, Kendall L. (1990) Mimesis as Make-Believe. On the Foundations of the Representational Arts. Cambridge, Mass.: Harvard University Press.10.2307/2108134]Search in Google Scholar
[Zillmann, Dolf (1994) ‘Mechanisms of Emotional Involvement with Drama’, Poetics, 23, pp. 33-51.10.1016/0304-422X(94)00020-7]Search in Google Scholar