Please enable JavaScript.

Coggle requires JavaScript to display documents.

Week 6: Film, Emotion, and Genre, film has a real world criteria, it does…

- - - - The pleasure that attends the conclusion of film comes when emotions are finally satisfied
        
        we may lose sight of the extensive degree to which our experience of movies is emotional.
        
        emotion is so pervasive in colouring our experience that we overlook it
  - - - :!!:A film is emotively prefocused by being structured around the criteria of appropriateness: a criterially prefocused film text
        
        a film text is criterially prefocused by being so structured that the description and depictions of the object will activate our subsumption of the characters under categories that are fitting to the emotional state elicited
        
        a standard condition for securing emotive focus
        
        :!!: A film text gives rise to emotive focus
        
        emotional state of viewer fixes and then shapes their attention
        
        an emotively charged state that shapes our anticipation of what is to come by priming us to be on the watch for emergence of further details
        
        :!!: Requires a pro attitude on the depicted situation
        
        merely presenting a prefocused appropriate criteria film text is not enough to guarantee an emotional response.
        
        needs to be supplemented by investing the viewer with concerns about the fictional world to arouse passion
        
        presupposes that film narratives can predict audiences preferences about how the story should go (expectations)
        
        :fountain_pen: audience concerns evolve according to situations portrayed
        
        When audience concerns are threatened = react with dysphoric emotions (discomfort)
        
        when audience concerns are satisfied by narrative = react with euphoric emotions
      - :!: Some films may be designedly emotionally ambiguous or unaccessible
        
        films may introduce novel emotional timbres or refuse to play by expectations and use indiscernible criterions
        
        films remote from viewers culturally or centurally may be emotionally inaccesible
- - - - :!!: Criterion of pity appropriateness: the person who has suffered misfortune
        
        we expect melodramas that have comprised of misfortunes suffered by the protagonists
        
        protagonists must feel the pain of their circumstances; disproportionately bad things happening to good people
        
        :!!: Pro-attitude from audience: We admire the victims of melodrama. They are people whom we admire them for the way they handle their suffering
        
        often bears suffering in order to benefit another, a result for the sacrifices they have made
        
        euphoric component of pity: the admiration motivated by the display of self sacrifice
        
        dysphoric component of pity: bitterness due to undeserving misfortunes
        
        Melodramas are not all dark, pity comes in tandem with admiration
        
        a film of suffering without virtue or solution may be avant garde realism rather than melodrama
        
        Misfortunes allow characters to exhibit noble virtues
        
        recognition/acknowledgement scenes are reminders to the audience of bad things and sad misfortunes as well as their virtues
        
        pity attaches to misfortunes, admiration attaches to the virtues
        
        Melodrama are rooted in compound emotion of pity and admiration
        
        criterially prefocus: misfortune + character virtues
  - - - :!!: Criterion for Fear appropriateness: harmfulness.
        
        harms take the form of monsters, supernatural entities that defies the bounds of contemporary scientific understanding
        
        harms are threatening to human life and hostile to humans
        
        harms are usually more powerful or advantegeous than human beings (eg. invisiibiliity, strength, supernatural)
        
        MAKES THEM DANGEROUS
        
        :!!: Criterion for Disgust/Repulsion: impurity
        
        prefocused in foregrounding harmfulness and impurity of monsters
        
        violate laws of nature and scientific purity
        
        violate biblical purity
        
        incomplete or formless: missing arms, legs or heads
  - - - :!!: Criterion for suspense approprateness: when the odds are stacked against in a future event.
        
        where probabilities seem to be running against the outcome that one prefers
        
        the undesired outcome is more probable than the desired outcome
        
        :!!: Pro-attitude and concern from the audience: Morality
        
        Morality provides common interests shared by typical audience
        
        evil outcome probable, righteous outcome improbable = suspense
        
        locate shared interests in diverse audiences such that they will support desired outcomes
        
        audience must care about the outcome and desire the outcome that is improbable