Understanding Movies (14th Edition) Book Pdf ⏵

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Understanding Movies (14th Edition) Book Pdf

the film viewer is aware that he enjoys watching a film and that at the end of the film, what he sees and experiences will vanish. this awareness has been repeatedly emphasised in experimental psychological studies (shaw 1945, 1986) and well reflected in current film theory. but it has not been emphasised enough, that viewers awareness that what they experience will vanish profoundly influences the way they experience it. it is this awareness that explains why, when watching a narrative film, we are aware that a sequence of events is taking place before us and that the story will end. it is only when we know that the narrative film will end that we can act on the goal of the film, which we experience as the one pulling our attention in the film. this is why we suffer so terribly from the knowledge that the narrative film will end.

but our emotions do not end there, once we feel connected to the narrative, we continue to experience emotions that are associated with the story. our emotions continue because we experience many emotions through the course of the narrative, but they are not all equally vital, not all equally enduring. the emotions we experience immediately after watching the narrative film fade away as the story winds down in the narrative sequence of events. but of course we do not only experience the emotions of the narrative film while watching it, but also emotions that the narrative did not evoke in us. a man with many emotional memories, would at the end of the film once again relive (and perhaps even deepen) the emotions he has experienced in the past. some such as those of relationships from childhood, would be associated with the film. a woman with powerful emotions of fear of losing would once again experience those emotions she had (willingly or otherwise) undergone in the narrative. many effects of the narrative can be identified as moments when the emotions we experience are releaser emotions. ^{footnote 102} happy transitions would thus be leading to positive emotions, as the ones provoked by narrative motives in the narratives initial portion, to releaser emotions of laughter, amusement etc. the narrative is never finished with the whole or sole responsibility for the continued releaser emotions. whether a story is a ‘slow burn’ based on a slow build-up to a climax or a ‘twist’ is nevertheless largely a matter of setting, lighting and staging. this is clearly visible in the lighting change that occurs at the end of the drama. in the drama ‘firelight’ (1922, van hees) the lighting changes abruptly to the light of a campfire at the end of the story. in the drama hedda gabler (1926, wiene) the lighting slowly changes to natural light at the end of the story. from the psychology of film narrative, we can thus summarise that for viewers, the narrative must consist of a causally coherent, emergent story progression. moreover, the narrative must ensure that it holds sufficient emotional energy to keep its participants around until the end.

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