Abstract The paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.

中文翻译：

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逮捕与逮捕：当代电影的中间影像与自我反省的观众

摘要 本文背离了这样一个假设：虽然电影理论家对流行电影（情节剧、恐怖片或动作片等类型）对其观众的系统影响进行了广泛的讨论，但对艺术电影的情感维度却鲜有研究。电影。视觉上引人入胜的电影对个人观众情感的持久影响只是偶尔通过认知电影理论、电影现象学和美学来解决。因此，作者建议将来自不同话语（电影和文学理论、中介性研究和文学效果的实证心理学研究）的术语和概念汇集起来，以阐明中介性、midcult 和 arthouse 电影中的绘画参考调动了电影观看的关联维度，并可能对观众的自我反思和情感成长产生影响。此外，依赖静止（编辑）图像的联想力的电影，绘画参考将观众的个人和文化体验发挥作用。因此，它们可以有效地用于专业和文化敏感性。