Viewer impacts and film attributes for imbes presentation
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This is a PowerPoint presentation on the key findings of my dissertation research into how the characteristics of individuals and attributes of film interact to result in a potentially significant impact from viewing a film.
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Viewer impacts and film attributes for imbes presentation
- 1. Viewer Impacts and FilmViewer Impacts and Film AttributesAttributes Selecting Films for InstructionSelecting Films for Instruction byby Fontaine Moore, PhDFontaine Moore, PhD ©2007©2007
- 2. StudyStudy Evolution &Evolution & DesignDesign Was my high impact experience an anomaly?Was my high impact experience an anomaly? No, according to other accounts on the Internet MovieNo, according to other accounts on the Internet Movie Database (IMDB)Database (IMDB) Different impacts for different filmsDifferent impacts for different films Media research has been neglected by educationMedia research has been neglected by education since the 1980s despite advent of neurosciencesince the 1980s despite advent of neuroscience Qualitative research study: “Asymmetrical” Delphi”Qualitative research study: “Asymmetrical” Delphi” in three (3) rounds via the Internetin three (3) rounds via the Internet Round 1: Impact categoriesRound 1: Impact categories Round 2: Film attributesRound 2: Film attributes Round 3: Synthesis for educationRound 3: Synthesis for education Fourteen (14) experts with average experience ofFourteen (14) experts with average experience of 30 years30 years
- 3. Film as a Medium for EducationFilm as a Medium for Education Films come in all flavors and lengthsFilms come in all flavors and lengths (different from genre which refers more to subject/content)(different from genre which refers more to subject/content) FeatureFeature DocumentaryDocumentary EducationalEducational People, especially youth, like moviesPeople, especially youth, like movies (popular cultural influence)(popular cultural influence) Movies can impact in significant waysMovies can impact in significant ways and multiple areasand multiple areas (depth, breadth & longevity)(depth, breadth & longevity) Learners need to be guided whenLearners need to be guided when watching a filmwatching a film (Directed learning activity)(Directed learning activity)
- 4. EmotionalEmotional Mood -Mood - Changes or heightens current mood Memory -Memory - Brings to mind former emotional states and memories Worldview -Worldview - Changes or reinforces attitudes and values CognitiveCognitive Knowledge -Knowledge - Adds to viewer’s knowledge database: “I never knew that before. So this is how…” (Can either be story or medium-related) Structure -Structure - Reframes existing knowledge and/or thought patterns Evaluation -Evaluation - Refinement of evaluative strategies; acquiring new perspectives by grappling with film meaning/techniques AestheticAesthetic Beauty -Beauty - Experience of “the sublime” (See Freeland) Competence -Competence - A sense of overall quality and technical acumen IntegrativeIntegrative -- A strong reaction over time involving multiple processes that constitute a turning point in one or more aspects of viewer’s life ROUND 1: Significant Impact Categories -ROUND 1: Significant Impact Categories - DefinitionsDefinitions
- 5. EmotionalEmotional Mood -Mood - “Parts of it were too disturbing and I took a little break out in the hall...” Memory -Memory - “I sat by myself in the theater with tears streaming down my face, remembering my lost friends and their suffering.” Worldview -Worldview - “I’ve never quite looked upon love the same way after seeing [this movie].” CognitiveCognitive Knowledge -Knowledge - “[The protagonist] was able to save an entire train load of Jewish children by claiming he needed their small hands to polish the insides of shell casings.” Structure -Structure - “[It] increased my tendency to see works of art as problems to be solved…” Evaluation -Evaluation - “I found it disappointing and amateurish and not particularly scary. I was just plain puzzled why my students found it so impressive.” AestheticAesthetic Beauty -Beauty - “I just love the period; the music; the color and texture of the film…” Competence -Competence - “I had never seen a film that was so stylistically perfect.” IntegrativeIntegrative -- “I could say that [the movie] changed my life…” ROUND 1: Significant Impact Categories -ROUND 1: Significant Impact Categories - ExamplesExamples
- 6. Impact Categories (Emotional)Impact Categories (Emotional) EmotionalEmotional MoodMood MemoryMemory WorldviewWorldview Once defined, emotionalOnce defined, emotional categories can be placedcategories can be placed in a table. This allowsin a table. This allows them to be crossed bythem to be crossed by film attributes in thefilm attributes in the rows.rows. Which attributes ofWhich attributes of film tend to elicitfilm tend to elicit which type ofwhich type of impacts?impacts?
- 7. Other ImpactsOther Impacts EmotionalEmotional CognitiveCognitive AestheticAesthetic Integ-Integ- rativerative MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation BeautyBeauty CompetenceCompetence Cognitive, aesthetic, andCognitive, aesthetic, and integrative impacts can alsointegrative impacts can also be added as columns.be added as columns.
- 8. ROUND 2: Key Film AttributesROUND 2: Key Film Attributes ATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAesthetic Integra-Integra- tivetive MoodMood MemoryMemory WorldviewWorldview Know-Know- ledgeledge Struc-Struc- tureture Evalu-Evalu- ationation BeautyBeauty Compe-Compe- tencetence Theme, content, subject, or “genre” Artistic integrity via story focus Universality of theme/s Character dimensionality & accessibility Uniqueness of presentation Internal logic within story world Coherent narrative structure Technical competence “Accessible” characters with whom viewers are able to identify and empathize Twists, turns, and novel, unexpected story presentation; avoidance of cliché Cogent narrative structure with a beginning, middle, and end Clarity and congruence of the visual image and sound Focus maintained on the story What the film is about; it’s subject or situation—often described by its “logline” “Archetypal” themes, problems, and issues Coherence and logic to keep belief suspended throughout the story
- 9. ROUND 3: Two InstructionalROUND 3: Two Instructional SituationsSituations PrecedingPreceding instruction as aninstruction as an “advance organizer”“advance organizer” DuringDuring instruction as a means ofinstruction as a means of content deliverycontent delivery
- 10. ATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAesthetic IntegraIntegra -tive-tive Film as anFilm as an Advance OrganizerAdvance Organizer Which cells are most importantWhich cells are most important PRECEDINGPRECEDING instruction?instruction? Theme, content, subject, or “genre” Artistic integrity via story focus Universality of theme/s Character dimensionality & accessibility Uniqueness of presentation Internal logic within story world Coherent narrative structure Technical competence MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation CompetenceCompetenceBeautyBeauty AA BB CC DD EE FF HHGG 1 3 4 2 5 6 7 8
- 11. ATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAesthetic IntegraIntegra -tive-tive Film as InstructionalFilm as Instructional MaterialMaterial Which cells are most importantWhich cells are most important DURINGDURING instruction?instruction? MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation BeautyBeauty CompetenceCompetence AA BB CC DD EE FF HHGG Theme, content, subject, or “genre” Artistic integrity via story focus Universality of theme/s Character dimensionality & accessibility Uniqueness of presentation Internal logic within story world Coherent narrative structure Technical competence 1 3 4 2 5 6 7 8
- 12. Example Considerations WhenExample Considerations When Selecting Film for InstructionSelecting Film for Instruction DURING instructionDURING instruction Emotional ImpactsEmotional Impacts 2C2C - Consider how character identification can help- Consider how character identification can help expand the viewer’s point-of-view (POV).expand the viewer’s point-of-view (POV). 4C4C - How might the universal nature of the themes fit- How might the universal nature of the themes fit with desired attitudes and values?with desired attitudes and values? 7C7C - How could the film’s structure support a- How could the film’s structure support a particular POV?particular POV? Cognitive impactsCognitive impacts 1D1D - How does the film’s subject fit with instructional- How does the film’s subject fit with instructional content?content? 4D4D - Consider how the universal nature of the film- Consider how the universal nature of the film connects viewers with new knowledge.connects viewers with new knowledge. 1E1E - Does the film’s content support a new way to- Does the film’s content support a new way to conceptualize instructional concepts?conceptualize instructional concepts? 3E3E - Does the message faithfully communicated from- Does the message faithfully communicated from the author help reorient information being learned?the author help reorient information being learned? 4E4E - Do the breadth or depth of the film’s themes- Do the breadth or depth of the film’s themes support new knowledge structures?support new knowledge structures? 5E5E - Is the film sufficiently unique and novel to- Is the film sufficiently unique and novel to support new knowledge structuring?support new knowledge structuring? 6E6E - Can the logic of the story world be transferred to- Can the logic of the story world be transferred to structure of new knowledge?structure of new knowledge? 1F1F - Think how the film’s subject may facilitate new- Think how the film’s subject may facilitate new ways to evaluate lesson content.ways to evaluate lesson content. 4F4F - Does the universal nature of the film’s themes- Does the universal nature of the film’s themes provide new ways to evaluate lesson content?provide new ways to evaluate lesson content? Aesthetic impactsAesthetic impacts (None)(None) Integrative impactsIntegrative impacts 4I4I - Can the film strongly impact viewers through a- Can the film strongly impact viewers through a universal focus?universal focus? PRECEDING instruction as anPRECEDING instruction as an “advance“advance organizer”organizer” Emotional ImpactsEmotional Impacts 1A1A - Consider the- Consider the moodmood the subject is likely tothe subject is likely to evoke.evoke. 2A2A - Can viewers identify with the- Can viewers identify with the characterscharacters?? 1C1C - Might the subject impact viewer- Might the subject impact viewer valuesvalues and attitudesand attitudes?? 5A5A - Is the film- Is the film uniqueunique enough to maintainenough to maintain attention?attention? 7C7C - Consider how well the film- Consider how well the film holds togetherholds together and sets the stage for later instruction.and sets the stage for later instruction. 2B2B - Do the characters evoke- Do the characters evoke memoriesmemories thatthat help prepare viewers for instruction?help prepare viewers for instruction? 8A8A - Does the film establish a firm,- Does the film establish a firm, logicallogical foundationfoundation for forthcoming instruction?for forthcoming instruction? Cognitive impactsCognitive impacts 8D8D - Is the film novel enough to spur- Is the film novel enough to spur curiosity?curiosity? 1E1E - Does the film’s content support a new- Does the film’s content support a new way to conceptualize future instruction?way to conceptualize future instruction? 4E4E - Does the film allow the viewer to connect- Does the film allow the viewer to connect to universal themes related to comingto universal themes related to coming instruction?instruction? 8F8F - Is the film unique enough to support re-- Is the film unique enough to support re- evaluation of knowledge?evaluation of knowledge? Aesthetic ImpactsAesthetic Impacts (None)(None) Integrative ImpactsIntegrative Impacts 4I4I - Can the film strongly prepare viewers- Can the film strongly prepare viewers through a universal focus?through a universal focus?
- 13. Conclusions: General & Follow-UpConclusions: General & Follow-Up StudiesStudies Affect underlies all “significant” learning to the point ofAffect underlies all “significant” learning to the point of subsuming cognitionsubsuming cognition (Emotions are pre-requisites for survival)(Emotions are pre-requisites for survival) Film, more than any other medium, evokes emotionsFilm, more than any other medium, evokes emotions (See(See cognitive film literature)cognitive film literature) Film is readily accessible for learners, especially to thoseFilm is readily accessible for learners, especially to those with reading problemswith reading problems Film should, therefore, be used more often in instructionFilm should, therefore, be used more often in instruction More research is needed:More research is needed: Establishment of a full-blown taxonomy for instructorsEstablishment of a full-blown taxonomy for instructors Use of the taxonomy within an actual educational environmentUse of the taxonomy within an actual educational environment Similar research with other mediaSimilar research with other media fMRI studies to determine brain activity occurring during filmfMRI studies to determine brain activity occurring during film viewingviewing (Rafael Malach & Uri Hasson),(Rafael Malach & Uri Hasson), as well as correlation withas well as correlation with demographic and personality factorsdemographic and personality factors fMRI studies to determine brain activity effects of differentfMRI studies to determine brain activity effects of different media and with and without instructional interventionmedia and with and without instructional intervention
- 14. Noted ReferencesNoted References Individual ReferencesIndividual References Freeland, C. A. (1999). The sublime in cinema. In C. Plantinga & G. M. Smith (Eds.), Passionate views: Film, cognition, and emotion (pp. 65-83). Baltimore, MD: Johns Hopkins University Press. Hasson, U., Furman, O., Dorfman, N., Davachi, L., Dudai, Y. (2007). "They saw a movie: Long-term memory for an extended audiovisual narrative." Learning & Memory 14: p. 457-467. Retreived October 1, 2007 from Learning & Memory Website: http://www.learnmem.org/cgi/reprint/14/6/457? ijkey=1ae078143c1842f27cd122f4df292845772a57db Hasson, U., Nir, Y., Levy, I., Fuhrmann, G., & Malach, R. (2004). Intersubject synchronization of cortical activity during natural vision. Science, 303, 1634-1640.Retrieved October 2, 2007, from Science Website: http://www.sciencemag.org/cgi/content/abstract/303/5664/1634 Malach, R. (2006). Perception without a perceiver. Retrieved May 3, 2007, from Department of Neurobiology, Weizmann Institute of Science Website: http://www.weizmann.ac.il/Biology/open_day_2006/book/Abstracts/Rafael_Malach.pdf Cognitive Film TheoristsCognitive Film Theorists Bordwell, D. (1989). Making meaning: Inference and rhetoric in the interpretation of cinema. Cambridge, MA: Harvard University Press. Branigan, E. (1992). Narrative Comprehension and Film. New York: Routledge. Carroll, N. (1988). Mystifying movies: Fads & fallacies in contemporary film theory. New York: Columbia University Press. Grodal, T. (1999). Emotions, cognitions, and narrative patterns in film. In C. Plantinga & G. Smith (Eds.), Passionate views: Film, cognition, and emotion (pp. 127-145). Baltimore: Johns Hopkins University Press. Jahn, M. (2003, August 2). A guide to narratological film analysis. Retrieved November 2, 2006, from English Department, University of Cologne Website: http://www.uni-koeln.de/~ame02/pppf.htm Plantinga, C. & Smith, G. (Eds.). (1999). Passionate views: Film, cognition, and emotion. Baltimore: The Johns Hopkins University Press. Smith, G. M. (2003). Film structure and the emotion system. New York: Cambridge University Press. Sweeney, K. (1994). Constructivism in cognitive film theory. Film and Philosophy, No.II. Retrieved March 19, 2006, from http://www.hanover.edu/philos/film/vol_02/sweeney.htm DissertationDissertation Moore, F. C. (2007). An asymmetric Delphi study of viewer impacts and film attributes: Selecting film for instruction. United States—Minnesota, Capella University.
- 15. TheEndTheEnd
Editor's Notes
- This study was conducted for my doctoral research and took place last spring. What motivated the study was going to a movie some years back and and walking out a changed person. What had happened, was I unique, and if not, how could this profound type of impact be used to improve learning? This experience provided the motivation to return to grad school.
- My literature review indicated that educational media research stopped in the 80s. Consensus that the media was not the message. The topic hasn’t been revisited since the advent of neuroscience. What goes on in the brain with various media? Few researchers are examining this question. I decided on a Delphi study design but with a different focus for each of 3 rounds. Because of this modification from a typical Delphi design, I called it asymmetrical. Before conducting my study, I found out several things by perusing the Internet Movie Database : I was not the only one who had experienced a significant impact to a film Different kinds of significant impacts for different films were plentiful including Brokeback Mountain, Pride and Prejudice, Titanic, Harold and Maude, and others. I sought an experienced interdisciplinary panel with an interest in film—especially those I had encountered in my literature review. The panel’s average experience was 30 years so they constituted real experts.
- In addition to discovering what it was about film that makes it so potentially powerful, how can that power be tapped for education? Those were the driving research questions. Formats for films vary and include feature—fictional feature-length either realistic or animated; documentary; or educational (which typically has low production budgets and show it) Genre is different and will be addressed shortly. The research focus was primarily on feature films. The average movie going demographic is 14 – 35—which includes the secondary and college students. From the IMDB it was clear that movies impact in a large number of area and the impact depth can be great and last a very long time—even permanently. That said, learners will get from a film whatever their personal agendas or moods are at the moment without guidance from the instructor. This guidance should like a directed reading activity used to focus attention on those aspects of the film related to instructional goals.
- Round 1 questions asked the panel to identify 2-4 movies that had had a significant impact on them and to describe the impact. No two panelists named the same film and they varied greatly. However, similar types of impacts were found within their descriptions. The impacts fell into 4 main categories, most with subcategories. The first was emotional with subcategories of mood, memory, and worldview. Worldview is placed under emotional impact because it includes attitudes and values which constitute Bloom’s affective domain. The cognitive category also contained 3 subcategories: Knowledge is acquisition of new information; structure is the formation of new connections or reinforcement of existing ones; and evaluation is involves a detailed examination of the film and its various elements in comparison to criteria. Although emotional in nature, a separate literature exists related to the aesthetic experience so it was carved out separately. Two subcategories were appreciation of beauty or “the sublime.” Also, appreciation for one or more technical elements of the film is included as an aesthetic impact. Integrative, as may be assumed, contains two or more of the previous elements but is also deeper and longer-lasting.
- On your handouts you have some examples of statements made by panelists that led to the categories defined. Therefore, I’ll let you read them there.
- Once defined, the impact categories can easily be organized into a table. This allows them to be correlated with film attributes, which was the purpose of Round 2. The underlying question in using a table is to determine what attributes of film as a medium tend to evoke or accompany the impacts.
- 1. Color was used on the table to readily separate the main categories.
- After seeing the film that transformed me, I decided to try my hand at screenwriting and read every book on the subject I could find. The authors of two of them—also professors, agreed to participate on the panel. I chose some preliminary attributes as a strawman list and left it to panelists to refine the list. As you can see, in this scheme, genre correlates more with a film’s subject than its form. When pitching the script for Titanic, Cameron described it as Romeo and Juliette on a ship. That was its logline that captured what the film was about. Genre is more general than a logline but also different from format. There is a whole literature about genre theory that embraces both film and literature. One apparent contradiction is the inclusion of both uniqueness and universality. A story needs to be sufficiently universal to evoke a psychological script the viewer has at hand to comprehend the filmic events. At the same time, if there is not something different or unique about it, interest and attention will wane. Note that all these factors also apply to literary stories. However, the type of technical competence is different as is the creation process itself—film being intrinsically the result of collaboration of many players from actors, directors, set designers, editors, and so forth—all of whom contribute to the finished product. Your handout includes the definitions for each film attribute.
- Once the impacts and key attributes were defined, it was time to put them together. I asked about 2 instructional situations: preceding instruction as an advance organizer and as during instruction as instructional media. The results of these differences in sequence was notable.
- Panelists were first asked to select 5 – 10 cells they considered the most important PRECEDING instruction. After number crunching, these are the cells they selected. Note that most are under the emotional category; none are in the aesthetic category and only 1 is in the integrative category.
- I’m going to click quickly through this slide. Beside each cell identifier is a sample question to help guide an instructor in using these results to select a film—the beginning of a taxonomy. Note that as on the previous 2 slides there are many more cells in emotional category preceding instruction and far more in the cognitive category during instruction. As mentioned before, the same cell was chosen in the integrative category; however, the question was modified to indicate the different sequence.
- Conclusions from this research fall into two areas: general and follow-on research. In the first area are learning-related points. I surmised that emotion is fundamental to and actually underlies cognition and to learning. This is critical. If a learner fails to be emotionally aroused to some degree, what is learned is likely to be superficial and temporary. According to the panel and to film theorists, film is the medium most likely to evoke emotion. One article by Hasson, noted in the references also speaks to this from a neuroscientific perspective. Another advantage of using film in instructional settings is that it circumvents reading problems such as dyslexia. Film—feature films in particular—are underutilized in today’s classrooms. This situation should be rectified given the plethora of problems within education. In the second area of follow-on research, the matrix cells selected by the panel need to form the basis of a taxonomy for teachers that helps them select appropriate films. Once created, use of the taxonomy needs to be studied. Similar research can and should be done for other media to help teachers select the best media for a given goal. Also, we need fMRI studies to find out what’s actually going on in the brain during film viewing—especially when instructor direction is and is not involved. Drs. Rafael Malach and Uri Hasson in Israel are conducting related research. Dr. Malach has expressed some interest in including an educational element within his existing reseach agenda.
- The references indicated previously on other slides are included. They are included in the handouts so I won’t get into them now.
- Please help yourself to the handouts. Are there any questions?