The way in which a film is written can potentially evoke specific emotional reactions, if done correctly. An example of writing is the fact the film, “Mary Poppins,” is a literary adaptation from the P.L. Travers book series, The Adventures of Mary Poppins. Walt Disney gained the rights to make a Mary Poppins film from P.L. Travers after many years of trying to negotiate with the author of the book series. Another example of a writing choice is the scene where the character of Bert directly speaks to the audience members. In this scene, Bert is taking on the narrator in the first person. Bert is informing the audience members of the who, what, when, and where’s of the film in order for the audience to have knowledge of the story and narrative. …show more content…
An example of message/meaning in the film is the ideology of the film itself. “Mary Poppins” would be considered as part explicit and part implicit. It is considered explicit due to the fact that the message in the film is aimed at teaching those who view the film. The film is considered implicit because the message of the film is not flat out said by a character, the audience members have to dig beneath the surface and find the true meaning of the film. Another example of meaning/message is the fact that the film is a liberal film. This can be said due to the fact that the film teaches that human behavior is learned, this is prevalent in story of Mr. Banks. As well, it is a liberal film because it teaches that the past is to be distrusted and the present time is hopeful. Audiences can come to this realization due to the fact that the Banks family begins as a detached and harsh family that realizes that the best parts of having a family are being with each other and having love. The film’s theme is that only a "tuppence" of change can make a difference. Mary Poppins brings that change when she teaches the Banks family that little things such as a "tuppence" for feeding birds, making chores fun when the children clean their rooms, and going for imaginary outings in the park can make a difference in the their lives. The opening scene sets
Relations between sympathy-empathy expressiveness and fiction have become a significant issue in the debate on the emotional responses to the film fiction. Due to their complexity many scholars found it useful to diagram them. With his essay, “Empathy and (Film) Fiction”, Alex Neill tries to develop new theory for analyzing the fiction and, especially, the emotional responses from the audience on it. The project of this essay is represented with an aim to show the audience the significant value of the emotional responses to the film fiction. From my point of view in the thesis of his project he asks a simple question: “Why does the (film) fiction evoke any emotions in the audience?”, further building the project in a very plain and clever way. Tracing the origins of this issue, he distinguishes between two types of emotional responses, sympathy and empathy, as separate concepts in order to understand the influence of both types of emotional responses to fiction. However, relying mostly on this unsupported discrepancy between two concepts and the influence of the “identification” concept, Neill finds himself unable to trace sympathy as a valuable response to fiction. This difficulty makes Neill argue throughout the better part of the text that empathy is the key emotional factor in the reaction to (film) fiction and that it is a more valuable type of emotional response for the audience.
In the Princess Bride the author William Goldman decides to kill off Wesley the main character of the romance comedy. But when he does he has a strange drawback and has the sudden realization of what he had just done. He mourns, grieves, and finds himself in his very own “Pit of Despair.” Yet how can this be, he had never experienced such a tragedy himself, but in his writing of a fictional fantasy character he is overwhelmed with these genuine emotions. Sentiments and actions are easier to access and put into writing if one has already experienced the event. Skilled authors can write pieces without experience by using similar emotions and merging them to create what one would expect to feel. The more believable the world that is conjured is to the audience the more they will be impacted by tragedies and trials in a story. A true
For example, the short story “ Why we crave horror “ Stephen says that we are having a “ particular sort of fun” meaning death. King says “ pro football has become the voyeur's version of combat,then the horror film has become the modern version”( Kings , “ why we crave horror” .2). Meaning the soldier’s version of combat has become the horror , in which kids see, fun to watch at a young age. Horror movies are to make a purpose for you to feel catharsis towards it. Emotion muscles also known as the human condition, are the way you feel about the horror in that case, having fun while watching it and finding it interesting. Compared to the narrator and the events of “Strawberry Spring,” we “reestablish our feelings of essential normality” (King, “Why We Crave” 1). Despite the macabre fact that multiple women are killed in the short story “Strawberry Spring,” the experience is a “peculiar sort of fun” (King, “Why We Crave”
Audience's Emotional Response in The Triumph Of The Will, Cabaret, Schindler’s List and The Lion King
Next, when an author appeals to the emotion of the audience, that is called pathos. A speaker using
Another film I watched this semester was To Kill a Mockingbird which was about rumors surrounding a boy down the street named Boo Radley, and Atticus defending an African-American (Tom Robinson) in a very racist society. The ideology in the film is to always do the right thing no matter what the consequences are. For example, in the film, Atticus defends an African-American even though Atticus is white, people threaten him, and he may lose his job. To Kill a Mockingbird falls into the explicit ideology category. This is explicit ideology because this film’s goal is to teach as much as they can about doing the right thing even if may cause you to have enemies (Giannetti 403). Moreover, it is explicit because the main goal of the movie is to
Dialogue gives the audience a clear view of what is happening in the story, but the
While watching the film ‘Steel Magnolias’ I was automatically sucked in and truly felt for each character. Each scene was ripe with emotion, whether it be joyous or drenched with despair. This intimidated me as I had doubts on my ability to showcase such emotion. The two scenes we had to choose from seemed particularly challenging as both dealt with sensitive subject matter that I have not had any experience with.
Whether a person’s life is something experienced authentically, or factually written down as literature, there are more complexities faced then there are simplicities on a daily basis. This multifariousness causes constant bewilderment and hesitation before any sort of important decision a person must make in his or her life. When it comes to characters of the written words, as soon sensations of ambiguity, uncertainty, and paranoia form, the outlook and actions of these characters are what usually result in regrettable decisions and added anxiety for both that character as well as the reader. Examples of these themes affecting characters in the world of fiction are found in the novel The Crying of Lot 49 by Thomas Pynchon, and the play Glengarry Glen Ross written by David Mamet. Throughout both of these texts, characters such as Oedipa Maas who allows these emotions to guide her in her journey of self discovery, and Shelly Levene who is so overcome with these emotions that they become his downfall. For both of these characters, these constant emotional themes are what guide their most impulsive actions, which can generally also become regrettable decisions. Even though it is a distinguishing factor of human beings, when these characters are portrayed in print, it somehow seems to affect the reader more, because they are able to see the fictional repercussions, and also know how they could have been avoided.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
...verything around us is made by our actions. Positive or negative they cause an effect that will ultimately lead to a different story base on how we interpret life. Narrative elements are used as a bridge by the directors in their film to create any master plot that is currently known. Any modification at any narrative element used by the director at important moments inside the story can help you portray a different master plot. This used of narrative elements can be best described as an ever changing process that takes place inside an individual’s head. Depending on the individual that may be exposed to those narrative elements can create different meanings. This new interpretation can be different for everyone. We have to be aware that one change in the surface scenery can lead to many ideal outcomes in our minds and that is the main power the audience has.
Another example of this would be the movie Jaws. Before the movie came out most of the population had little facts about sharks. So naturally, when people do not know much about a certain object, movie producers have plenty of room to play with peoples emotions.
One often experiences a sense of shock in film due to the filmmaker’s ability to manipulate technical elements such as sound and camera angles in order to elicit feelings of suspense and tension from the audience. More specifically, the definition of suspense suggests that this shocked emotion arises when someone is aware of his or her lack of knowledge about the development of a meaningful event; thus, suspense is a combination of anticipation and uncertainty dealing with the ambiguity of future events (Merriam-Webster). In terms of storyline expectations, it may be contrasted with the unknown, curiosity or surprise.
What makes a movie or a play important? The messages of course; no text will ever go without messages intertwined within the story line. Tom Stoppard is a master of this technique which is shown throughout his play Rosencrantz and Guildenstern are Dead. This is a play about two gentlemen who are from William Shakespeare’s play Hamlet. Stoppard writes this play expecting readers to know the play Hamlet extremely well; some parts of the play are even performed within Rosencrantz and Guildenstern are Dead. However, this is a play about two dead men walking; readers who know the play Hamlet know that these two men are going to die at the end of the play. This is a play where everything is a metaphor, a message, or a theme, some of which reference back to Hamlet, others refer to other things throughout history. There are specific messages that arise throughout Tom Stoppard’s play, Rosencrantz and Guildenstern are Dead, which includes the use of language, the question of identity, and lastly the uncertainties of life and death.
Though Mean Girls is just a movie, it has many different messages if paid close attention to they can be easily pick up. This movie sends the message on how women cannot prevail by criticizing other, social acceptance can change a person, stupidity is not going to attract the opposite sex, and that White American dominate over all race. Mean Girls purpose has been entertained the young audience of mostly pre-teen and teenage girls. Nevertheless, the messages within this movie can alter the way of think for a person.