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ry and film theory. It helps us understand the relationship between the film text and viewer. It also helps us to understand how and why a spectator might respond to a film in a certain way. SPECTATOR: a person who looks, watches, observes EMOTION: a strong feeling deriving from mood, relationships, circumstances RESPONSE: a reaction to something An EMOTIONAL RESPONSE relating to the SPECTATORSHIP of a film can therefore be defined as:
1. PLEASURE through RESPONSE The promise of pleasure motivates us to enter the cinema and the promise of what to expect from the genre, director or actor can also provide us with certain pleasures for going to watch a film. Although different spectators may have different motives in the pleasures that a film might hold for them (social, moral, aesthetic, emotional, intellectual or erotic) there are 3 main emotional responses to a film text that we can experience. What Responses (reactions) can we have to a film? AFFECTIVE (emotional) How we feel about a character, event or situation within the film. Sadness, happiness, laughter, anxiety, fear are all affective emotional responses the film is affecting us to have a strong reaction in an emotional way. VISCERAL (physical) The way a film physically stimulates our senses we might jump at a tense moment, we might cry or sob, we might put a cushion in front of our face or scream! A visceral, physical response can also be created through cinematography or sound that evokes a physical feeling, like a shaky handheld camera with a filter to emote the physical feeling of being drunk or a blurred, out of focus shot to create the physical feeling of not being able to see properly. COGNITIVE (intellectual) The way a film makes us think about what is happening, might happen or has happened. We find ourselves asking questions either about the plot, characters, narrative structure etc... A simple whodunit? can evoke a cognitive reaction in a spectator as we watch the film trying to guess who the villain could be. We respond to the film cognitively because we have enjoyed the way it made us think intellectually. 2. SPECTATOR & CHARACTER RELATIONSHIPS The relationship between the spectator and character is important in creating a response to the film and different emotional reactions. There are 3 aspects that work to enable this relationship to develop in a film: 1. Recognition Do we recognise the character? Are they credible? Does the star persona further develop the recognition? If we can recognise them, it is easier for us to decide if we like them or not and suspend disbelief to engage in the film. 2. Alignment This is a process of identification where we align ourselves with the characters experience, morals, values etc and create a bond with them as a result . The camera work is often important to help identify which characters we should align ourselves with and against in a film. 3. Allegiance We feel a loyalty to the characters ideological views and needs that will either reflect or are different to our own in the real world. The characters role in the plot and narrative, shot types
used and cutting for perspective can help foster allegiance between the spectator and character, and again helps us to read which characters we should feel close to in the film. 3. A CHANCE TO IMAGINE Imagining is the idea that when we watch a film we imagine what it must be like or feel like, which makes watching a film pleasurable. Spectator theory has come up with 2 different ideas of imagining in relation to mainstream film, depending on the type of spectator involved: 1. A Passive spectator experiences central imagining The spectator surrenders completely to the film experience The use of film form makes the audience directly imagine or feel the physical or emotional sensation recreated by the film, the characters or the order of events or use of narrative devices 2. An Active spectator experiences a-central imagining The spectator can be both simultaneously inside (engrossed in) & outside (thinking critically) the film Rather than let the film language directly manipulate them to imagine, the active spectator will think critically outside the film and say I imagine that it must bethey negotiate the film form to help them to empathise with the physical or emotional sensations found in the film
The development of a cinema apparatus has created a film language and cinema viewing experience that offers many pleasures for both a passive or active audience. Going to watch a film can create pleasure by encouraging of range of emotional responses, develop our relationships with characters and give us a chance to imagine situations that we may not otherwise experience and as a result, we can negotiate what the film might mean to us. To sum up, this unit is about analysing HOW and WHY spectators respond to popular films in certain ways. It is not focusing on representation.