1. EMOTIONAL RESPONSE
Section B – Spectatorship Topics
FM4 VARIETIES OF FILM EXPERIENCE
ISSUES & DEBATES
Tony Kaye ,1998 Paul Haggis, 2004
2. 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
3.
4. EXAM QUESTIONS
• 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?
5. Film communication as a process
• 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.
6. Film communication as a process
• 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)
7. Film communication as a process
• Film ‘Language’: Film operates as a language; it communicates
with the spectator through the use of images and sound
Visual indicators and carefully arranged shots
combined with spoken word, sound effects and
musical soundtracks
• 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.
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
8. Deconstruction of key scenes
• 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 responses
3. What are the reasons for my
emotions/responses?
