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FM4: What is emotion?


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FM4: What is emotion?

  1. 1. What is emotion? <ul><li>TASK: Compile a list of the various types of emotional response a film might elicit </li></ul><ul><li>What exactly is emotion, or emotional response? </li></ul><ul><li>A moving of the mind or soul; excitement of the feelings, whether pleasing or painful; disturbance or agitation of mind caused by specific exciting cause and manifested by some sensible effect on the body </li></ul><ul><li>Can we control our emotions? To what extent should emotions be seen to be linked to thought? </li></ul>
  2. 2. What is emotion? <ul><li>As we watch films we can each experience fear, and pleasure, and desire, and surprise, and shock and a whole array of possible emotions, but we will not all experience these emotions equally at the same moments in a film </li></ul><ul><li>What is that determines our individual predisposition to respond in particular emotional ways at certain points in certain films? THINK ABOUT THAT! </li></ul><ul><li>Think carefully about this but don’t worry about a right answer, this is the debate. Your job is to recognise that there is an intense interaction with the sounds and images occurring as we watch films, and that film makers are deliberately setting out to engender (give rise to) emotional responses. Through your observation of the use of mise-en-scene, cinematography, editing and sound you are able to explore the ways in which emotional response is created </li></ul>
  3. 3. What do you define emotion as now? <ul><li>Read the sheet on EMOTION </li></ul><ul><li>For the most part we’ll be dealing with cognitive responses </li></ul><ul><li>The mental process of knowing, including aspects such as awareness, perception, reasoning, and judgement </li></ul><ul><li>That which comes to be known as through perception, reasoning or intuition; knowledge </li></ul>
  4. 4. Film Studies and Cultural Studies <ul><li>Film Studies, influenced by Cultural Studies is increasingly likely to centre on local, small scale and precise groups of people who share, perhaps, some social or political ‘Formation’. Their behaviour both as individuated spectators and as a collective of people forming an audience is likely to be understood if we respect and try to understand the importance of particular life experiences and social; attitudes they bring with them to the viewing situation. </li></ul><ul><li>(Patrick Phillips in Introduction to Film Studies) </li></ul>
  5. 5. Spectatorship <ul><li>A spectator is an individual member of an audience. Spectatorship is an important concept in film theory. Traditional models of audience response ( hypodermic needle model ) tend to treat viewers, readers or listeners as groups, spectatorship study suggests that the film builds a specific relationship with every individual who experiences it. Rather than being concerned with media effects. Spectatorship study focuses on understanding the ways films produce pleasure in their viewers. </li></ul>
  6. 6. Response <ul><li>Our response to a film draws on the whole of the self, a self that includes: </li></ul><ul><li>A social self who can make meaning in ways not very different from other with a similar ideological formation </li></ul><ul><li>A cultural self who makes particular intertextual references (to other films, other kinds of images and sound) based on the bank of material s/he possesses </li></ul><ul><li>A private self who carried the memories of her own experiences and who may find person significance in a film in ways very different from others </li></ul><ul><li>A desiring self who brings conscious and unconscious energies and intensities to the film event that have little to do with the film’s ‘surface’ content </li></ul>
  7. 7. Key sequence analysis <ul><li>Lets apply what we have learnt so far </li></ul><ul><li>Film as language </li></ul><ul><li>Film as constructions </li></ul><ul><li>Character alignment </li></ul><ul><li>Cultural Studies & Spectatorship </li></ul>