EMOTIONAL RESPONSESection B – Spectatorship

TopicsFM4 VARIETIES OF FILM EXPERIENCE

ISSUES & DEBATES

Tony Kaye ,1998 Paul Haggis, 2004

"Powerful sensory and

emotional responses and

how they're produced in

film spectators."

AIMS & OBJECTIVES

• This study is concerned with the ways in which popular film produces powerful sensory and emotional responses in the spectator

• To consider the idea that spectators will find that particular films and sequences within films draw out from them ,often strong, emotional responses

• To develop an understanding of how films create the emotional responses they do and the relationship between the film on screen and the audience in terms of the communication process

PAUL HAGGIS (2004)TONY KAYE (1998)

• Would you agree that strong emotional effects are achieved in some films by the careful use of film construction techniques and in others by the subject matter itself?

• After the shock of the initial viewing, do subsequent viewings lessen or intensify the impact of shocking images and/ or subject matter?

• Creating the opportunity for emotional responses in popular films is simply to do with manipulating the audience: mainstream films don’t attempt to use emotional responses to make any more considered points. From your experience would you agree with this?

• Explore possible reasons to explain why a second or third viewing of a film can actually increase the emotional response rather than lessen it

• How far is the emotional response to mainstream films triggered by specific techniques used by the filmmakers?

• 'One of the greatest pleasures of popular cinema is surrendering to the film experience and allowing ourselves to be emotionally manipulated.' Discuss this statement with reference to the films you have studied for this topic

• 'Emotional response to popular film is dependent on the ways in which we are made to identify with particular characters.' How far has this been your experience?

EXAM QUESTIONS

• First perspective: Film is a form of communication, transmission of messages (single intended meaning)

• Second perspective: Film is a form of communication – meaning making is an interactive process (a variety of possible meanings)

• Film ‘Language’: Film operates as a language; it communicates with the spectator through the use of images and sound

• Films as ‘constructs’: Films are built by filmmakers from a series of component parts that we can identify, and since they have been constructed we can take them apart and see how they have been put together.

Film communication as a process

• First perspective: Film is a form of communication, transmission of messages (single intended meaning)

Film communication as a process

• Second perspective: Film is a form of communication – meaning making is an interactive process (a variety of possible meanings)

• Film ‘Language’: Film operates as a language; it communicates with the spectator through the use of images and sound

Film communication as a process

• Films as ‘constructs’: Films are built by filmmakers from a series of component parts that we can identify, and since they have been constructed we can take them apart and see how they have been put together.

Visual indicators and carefully arranged shots combined with spoken word, sound effects and

musical soundtracks

What are the building blocks of film?If we treat films as constructs we can attempt to

suggest reasons why choices have been made and explore possible meanings

Let's watch a scene from Psycho

(Hitchcock, 1960) to

explore this some more

• Use the idea of films as ‘constructs’ and apply your knowledge of film language as you watch the focus films.

• Remember to always keep these questions in mind

1. What types of emotions did I experience?2. How did these emotions shape my responses3. What are the reasons for my

emotions/responses?

Deconstruction of key scenes

Keep these questions in mind as

we watch Crash – RIGHT NOW!