Skip to main content

Emotional Film Experience

  • Chapter
  • First Online:
Emotions in Technology Design: From Experience to Ethics

Part of the book series: Human–Computer Interaction Series ((HCIS))

Abstract

Technological developments in the film industry have enriched the audio–visual language over the years, and made it possible to represent subtle aspects of the world so that audiences could experience fictional stories as realistically as possible, and be emotionally engaged and interested. This chapter reviews recent research and theories regarding emotional engagement, interest and empathy as complex cognitive emotional viewers’ experiences. In addition, we will discuss the use of non-narrative factors such as music or colour to elicit emotions. But more importantly, we will introduce methods and techniques that can be used to study viewers’ emotional responses to films. Our basic claim is that films, like other technological artefacts, can be studied using the methods of user experiences. Integrating ideas and methods from film theory, users’ experiences and cognitive psychological approaches to emotions might provide a useful framework to understand viewers’ experiences of films.

The work in this chapter was supported by Aalto Seed and the doctoral school in the Faculty of Information Technology (University of Jyväskylä). It is based on the author’s unpublished doctoral dissertation.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 119.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 159.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 159.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Similar content being viewed by others

References

  • Argyle M (1975) Bodily communication. International Universities Press. https://books.google.es/books?id=BbYOAAAAQAAJ

  • Arnheim R (1957) Film as Art: 50th anniversary printing. University of California Press

    Google Scholar 

  • Atkinson S (2014) The performative functions of dramatic communities: conceptualizing audience engagement in transmedia fiction. Int J Commun 8:2201–2219

    Google Scholar 

  • Bálint K, Tan ES (2015) It feels like there are hooks inside my chest: the construction of narrative absorption experiences using image schemata. Projections 9(2). https://doi.org/10.3167/proj.2015.090205

  • Baron-Cohen S (1997) Mindblindness: an essay on autism and theory of mind. MIT

    Google Scholar 

  • Bazin A (1971) What is cinema? : essays selected and translated [from the French] by Hugh Gray. California University Press; /z-wcorg/

    Google Scholar 

  • Belton J (2014) If film is dead, what is cinema? Screen 55(4):460–470. https://doi.org/10.1093/screen/hju037

    Article  MathSciNet  Google Scholar 

  • Belton J (2002) Digital cinema: a false revolution. October, 98–114.

    Google Scholar 

  • Berliner T (2017) Hollywood aesthetic: pleasure in American cinema. Oxford University Press

    Google Scholar 

  • Berlyne DE (1960) Conflict, arousal, and curiosity. McGraw-Hill Book Company. https://doi.org/10.1037/11164-000

    Article  Google Scholar 

  • Berlyne DE (1974) Studies in the new experimental aesthetics: steps toward an objective psychology of aesthetic appreciation. Hemisphere Pub Corp

    Google Scholar 

  • Bolivar VJ, Cohen AJ, Fentress JC (1994) Semantic and formal congruency in music and motion pictures: effects on the interpretation of visual action. Psychomusicol J Res Music Cogn 13(1–2):28–59. https://doi.org/10.1037/h0094102

  • Boltz MG (2001) Musical soundtracks as a schematic influence on the cognitive processing of filmed events. Music Percept Interdisc J 18(4):427–454

    Article  Google Scholar 

  • Bordwell D (1989) A case for cognitivism. Iris 9:11–40. https://qmplus.qmul.ac.uk/pluginfile.php/13140/mod_resource/content/1/david%20bordwell%20-%20a%20case%20for%20cognitivism.pdf

  • Bordwell D, Thompson K (1979) Film art: an Introduction. Newbery Award Records, New York

    Google Scholar 

  • Bordwell D, Thompson K (2004) Film art: an introduction (7th ed). McGraw-Hill

    Google Scholar 

  • Bordwell D, Thompson K, Ashton J (1997) Film art: an introduction, vol 7. McGraw-Hill, New York. https://corebutte.org/downloads/advising/A-G_Course_Outlines/a-g_Film_Studies.pdf

  • Borg J (2009) Body language: 7 easy lessons to master the silent language (1st ed). FT Press

    Google Scholar 

  • Busselle R, Bilandzic H (2008) Fictionality and perceived realism in experiencing stories: a model of narrative comprehension and engagement. Commun Theory 18(2):255–280

    Article  Google Scholar 

  • Cañas-Bajo J, Cañas-Bajo T, Berki E, Valtanen J-P, Saariluoma P (2019) Designing a new method of studying feature-length films: an empirical study and its critical analysis. Projections 13(3):53–78

    Article  Google Scholar 

  • Cañas-Bajo J, Cañas-Bajo T, Berki E, Valtanen J-P, Saariluoma P (2019b) Emotional experiences of films: are they universal or culturally mediated?

    Google Scholar 

  • Choi J (2005) Leaving it up to the imagination: POV shots and imagining from the inside. J Aesthetics Art Criticism 63(1):17–25

    Article  Google Scholar 

  • Currie G (1999) Cognitivism. In: Miller T, Stam R (eds) A companion to film theory. Blackwell, pp 105–122

    Google Scholar 

  • Cutting JE (2005) Perceiving scenes in film and in the world. In: Anderson J, Anderson BF (eds) Moving image theory: ecological considerations. Southern Illinois University Press, pp 9–27

    Google Scholar 

  • Cutting JE (2016) Narrative theory and the dynamics of popular movies. Psychon Bull Rev 23(6):1713–1743

    Article  Google Scholar 

  • Cutting JE, Candan A (2015) Shot durations, shot classes, and the increased pace of popular movies

    Google Scholar 

  • Damasio AR (1999) How the brain creates the mind. Sci Am Am Ed 281:112–117

    Article  Google Scholar 

  • De Graaf A, Hoeken H, Sanders J, Beentjes H (2009) The role of dimensions of narrative engagement in narrative persuasion. Communications 34(4):385–405

    Article  Google Scholar 

  • Dion K, Berscheid E, Walster E (1972) What is beautiful is good. J Pers Soc Psychol 24(3):285

    Article  Google Scholar 

  • Dobrian F, Sekar V, Awan A, Stoica I, Joseph D, Ganjam A, Zhan J, Zhang H (2011) Understanding the impact of video quality on user engagement. ACM SIGCOMM Comput Commun Rev 41:362–373. https://dl.acm.org/citation.cfm?id=2018478

  • Ekman P (1992) Are there basic emotions? Psychol Rev 99(3):550–553. https://doi.org/10.1037/0033-295X.99.3.550

    Article  Google Scholar 

  • Ellsworth PC (2013) Appraisal theory: old and new questions. Emot Rev 5(2):125–131

    Article  Google Scholar 

  • Ellsworth PC, Scherer KR (2003) Appraisal processes in emotion. Handb Affect Sci 572:V595

    Google Scholar 

  • Forman P, John RWS (2000) Creating convergence. Sci Am 283(5):50–56

    Article  Google Scholar 

  • Fredrickson BL (1998) What good are positive emotions? Rev Gen Psychol 2(3):300–319. https://doi.org/10.1037/1089-2680.2.3.300

    Article  MathSciNet  Google Scholar 

  • Frijda NH (1986) The emotions. Cambridge University Press; Editions de la Maison des sciences de l’homme

    Google Scholar 

  • Frijda NH (1988) The laws of emotion. Am Psychol 43(5):349

    Article  Google Scholar 

  • Frijda NH (2007) The laws of emotion. Lawrence Erlbaum Associates

    Google Scholar 

  • Frijda NH (2013) Comment: the why, when, and how of appraisal. Emot Rev 5(2):169–170. https://doi.org/10.1177/1754073912468905

    Article  Google Scholar 

  • Gallese V (2001) The’shared manifold’hypothesis. From mirror neurons to empathy. J Conscious Stud 8(5–6):33–50

    Google Scholar 

  • Garrett JJ (2011) The elements of user experience: User-centered design for the Web and beyond (2nd ed). New Riders

    Google Scholar 

  • Gendron M, Crivelli C, Barrett LF (2018) Universality reconsidered: diversity in making meaning of facial expressions. Curr Dir Psychol Sci 27(4):211–219. https://doi.org/10.1177/0963721417746794

    Article  Google Scholar 

  • Gerrig R (2018) Experiencing narrative worlds. Routledge

    Google Scholar 

  • Giannetti L (1982) Schatz,“hollywood genres: formulas, filmmaking, and the studio system”(Book Review). West Humanit Rev 36(2):176

    Google Scholar 

  • Green MC, Brock TC (2000) The role of transportation in the persuasiveness of public narratives. J Pers Soc Psychol 79(5):701

    Article  Google Scholar 

  • Grodal T (1999) Moving pictures: a new theory of film genres, feelings, and cognition

    Google Scholar 

  • Grodal T (2017) How film genres are a product of biology, evolution and culture—An embodied approach. 3:17079

    Google Scholar 

  • Gross JJ, Levenson RW (1995) Emotion elicitation using films. Cogn Emot 9(1):87–108

    Article  Google Scholar 

  • Guerra M (2015) Modes of action at the movies, or re-thinking film style from the embodied perspective. Embodied Cognition and Cinema. Leuven University Press, Leuven, pp 139–154

    Google Scholar 

  • Hall ET (1990) The hidden dimension. Anchor Books

    Google Scholar 

  • Hall S (1980) Encoding/decoding. In: Hall S et al. (eds) Culture, media, language: Working Papers in Cultural Studies, 1972–79. Unwin Hyman, London, pp 128–139

    Google Scholar 

  • Hansen LH (2014) The moving image: body language and media context. Kosmorama 258

    Google Scholar 

  • Hassenzahl M (2004) The Interplay of beauty, goodness, and usability in interactive products. Hum-Comput Interact 19(4):319–349. https://doi.org/10.1207/s15327051hci1904_2

    Article  Google Scholar 

  • Hassenzahl M (2010) Experience design: technology for all the right reasons. Synth Lect Hum-Centered Inform 3(1):1–95. https://doi.org/10.2200/S00261ED1V01Y201003HCI008

    Article  Google Scholar 

  • Helfenstein S (2012) Increasingly emotional design for growingly pragmatic users? A report from Finland. Behav Inf Technol 31(2):185–204. https://doi.org/10.1080/01449291003793777

    Article  Google Scholar 

  • Hovland CI, Janis IL, Kelley HH (1953) Communication and persuasion; psychological studies of opinion change

    Google Scholar 

  • Izard CE, Ackerman BP, Schoff KM, Fine SE (2000) Self-organization of discrete emotions, emotion patterns, and emotion-cognition relations. Emotion, Development, and Self-Organization: Dynamic Systems Approaches to Emotional Development, pp 15–36

    Google Scholar 

  • Johnson M (1987) The body in the mind: the bodily basis of meaning, imagination, and reason. IL, Chicago

    Google Scholar 

  • Keen S (2007) Empathy and the Novel. Oxford University Press on Demand

    Google Scholar 

  • Knudsen CJ (2002) Video mediated communication (VMC)-producing a sense of presence between individuals in a shared virtual reality. In: Proceedings of international symposium on educational conferencing. https://cid.nada.kth.se/pdf/CID-206.pdf

  • Lang A, Ewoldsen D, Doveling K, Von Scheve C, Konijin E (2010) The measurement of positive and negative affect in media research. Handb Emotions Mass Media 79–98

    Google Scholar 

  • Lasswell HD (1927) Propaganda technique in World War I, MIT Press

    Google Scholar 

  • Lazarus RS, Folkman S (1984) Coping and adaptation. Handb Behav Med 282–325

    Google Scholar 

  • Levi DS (1982) The structural determinants of melodic expressive properties. J Phenomenological Psychol 13(1):19

    Article  MathSciNet  Google Scholar 

  • Levin DT, Hymel AM, Baker L (2013) Belief, desire, action, and other stuff: Theory of mind in movies

    Google Scholar 

  • Livingstone S, Das R (2013) The end of audiences?: theoretical echoes of reception amid the uncertainties of use. In: Hartley J, Burgess J, Bruns A (eds) A companion to new media dynamics. Wiley, pp 104–121

    Google Scholar 

  • Manovich L (1996) Cinema and digital media. Perspectives of Media Art. Ostfildern, Cantz Verlag, Germany

    Google Scholar 

  • Marks LU (2000) The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press

    Google Scholar 

  • Moggridge B (2010) Designing media. MIT Press

    Google Scholar 

  • Morrisj JS (2002) How do you feel? Trends Cogn Sci 6(8):317–319

    Article  Google Scholar 

  • Naremore J (1988) Acting in the cinema. University of California Press

    Google Scholar 

  • Nisbett RE, Wilson TD (1977) The halo effect: evidence for unconscious alteration of judgments. J Pers Soc Psychol 35(4):250–256. https://doi.org/10.1037/0022-3514.35.4.250

    Article  Google Scholar 

  • Norman DA (2005) Emotional design: why we love (or hate) everyday things. Basic Books

    Google Scholar 

  • Oatley K (1987) Editorial: cognitive science and the understanding of emotions. Cogn Emot 1(3):209–216. https://doi.org/10.1080/02699938708408048

    Article  Google Scholar 

  • Oatley K, Johnson-Laird PN (1996) The communicative theory of emotions: empirical tests, mental models, and implications for social interaction

    Google Scholar 

  • Ortony A, Clore GL, Foss MA (1987) The referential structure of the affective lexicon. Cogn Sci 11(3):341–364

    Article  Google Scholar 

  • Ortony A, Turner TJ (1990) What’s basic about basic emotions? Psychol Rev 97(3):315

    Article  Google Scholar 

  • Pease B, Pease A (2008) The definitive book of body language: the hidden meaning behind people’s gestures and expressions. Bantam

    Google Scholar 

  • Plantinga C (1999) The scene of empathy and the human face on film. In: Plantinga CR, Smith GM (eds) Passionate views: Film, cognition, and emotion. Johns Hopkins University Press, pp 239–255

    Google Scholar 

  • Plantinga C (2002) Cognitive film theory: an insider’s appraisal. Cinémas: Revue d’études cinématographiques 12(2):15. https://doi.org/10.7202/024878ar

  • Plantinga C (2009) Moving viewers: American film and the spectator’s experience. University of California Press

    Google Scholar 

  • Raz G, Hendler T (2014) Forking cinematic paths to the self: Neurocinematically informed model of empathy in motion pictures

    Google Scholar 

  • Redfern N (2014) Quantitative methods and the study of film. https://www.academia.edu/download/33712649/Nick_Redfern_-_Quantitative_methods_and_the_study_of_film.pdf

  • Rozin P, Cohen AB (2003) Reply to commentaries: confusion infusions, suggestives, correctives, and other medicines. Emotion 3(1):92–96. https://doi.org/10.1037/1528-3542.3.1.92

    Article  Google Scholar 

  • Saariluoma P, Jokinen JPP (2014) Emotional dimensions of user experience: a user psychological analysis. Int J Hum-Comput Interact 30(4):303–320. https://doi.org/10.1080/10447318.2013.858460

    Article  Google Scholar 

  • Segal EM (1995) Narrative comprehension and the role of deictic shift theory. Deixis Narrative: Cogn Sci Perspect 3–17

    Google Scholar 

  • Silvia PJ, Berg C (2011) Finding movies interesting: how appraisals and expertise influence the aesthetic experience of film. Empirical Stud Arts 29(1):73–88. https://doi.org/10.2190/EM.29.1.e

    Article  Google Scholar 

  • Smith M (1995) Engaging characters: fiction, emotion, and the cinema. Oxford University Press, Clarendon Press

    Google Scholar 

  • Smith M (2011) Empathy, expansionism, and the extended mind. Empathy: Philos Psychol Perspect 1

    Google Scholar 

  • Smith M (2019) Film, art, and the third culture: a Précis

    Google Scholar 

  • Sobchack VC (1992) The address of the eye: a phenomenology of film experience. Princeton University Press

    Google Scholar 

  • Stadler J (2017) Empathy in film. Routledge Handb Philos Empathy

    Google Scholar 

  • Stam R, Miller T (eds) (2000) Film and theory: an anthology. Blackwell

    Google Scholar 

  • Talavera J, Kanzler M, Fontaine G (2016) European audiovisual observatory (2016). In: Public financing for film and audiovisual content–the state of soft money in Europe. European Audiovisual Observatory. Public Funding for Film and Audio-Visual Works in Europe: Key Industry, Strasbourg, p 173

    Google Scholar 

  • Tan ES (1996) Emotion and the structure of narrative film: Film as an emotion machine. Erlbaum

    Google Scholar 

  • Tan ES (2018) A psychology of the film. Palgrave Commun 4(1). https://doi.org/10.1057/s41599-018-0111-y

  • Tan ES-H, Visch V (2018) Co-imagination of fictional worlds in film viewing. Rev Gen Psychol 22(2):230–244

    Article  Google Scholar 

  • Tarvainen J, Sjoberg M, Westman S, Laaksonen J, Oittinen P (2014) Content-based prediction of movie style, aesthetics, and affect: data set and baseline experiments. IEEE Trans Multimedia 16(8):2085–2098. https://doi.org/10.1109/TMM.2014.2357688

    Article  Google Scholar 

  • Thagard P (2005) Mind: introduction to cognitive science (2nd ed). MIT Press

    Google Scholar 

  • Tomkins SS (1962) Affect, imagery, consciousness. Springer Pub Co

    Google Scholar 

  • Tomlinson J (1999) Globalization and culture. University of Chicago Press

    Google Scholar 

  • Tractinsky N, Cokhavi A, Kirschenbaum M, Sharfi T (2006) Evaluating the consistency of immediate aesthetic perceptions of web pages. Int J Hum Comput Stud 64(11):1071–1083. https://doi.org/10.1016/j.ijhcs.2006.06.009

    Article  Google Scholar 

  • Tyler AC (1992) Shaping belief: the role of audience in visual communication. Des Issues 9(1):21. https://doi.org/10.2307/1511596

    Article  Google Scholar 

  • van Schaik P, Hassenzahl M, Ling J (2012) User-experience from an inference perspective. ACM Trans Comput-Hum Interac 19(2):1–25. https://doi.org/10.1145/2240156.2240159

    Article  Google Scholar 

  • Walton KL (1984) Transparent pictures: on the nature of photographic realism. Crit Inq 11(2):246–277. https://doi.org/10.1086/448287

    Article  Google Scholar 

  • Wood A (2008a) Cinema as technology: encounters with an interface

    Google Scholar 

  • Wood A (2008) Encounters at the interface: distributed attention and digital embodiments. Q Rev Film Video 25(3):219–229. https://doi.org/10.1080/10509200601091490

    Article  Google Scholar 

  • Zahavi D (2014) Self and other: exploring subjectivity, empathy, and shame. Oxford University Press, USA

    Book  Google Scholar 

  • Zettl H (2011) Sight, sound, motion: Applied media aesthetics (6th ed). Wadsworth Cengage Learning

    Google Scholar 

  • Zillmann D (1996) Sequential dependencies in emotional experience and behavior. Emot Interdisc Perspect 243–272

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Jose Cañas-Bajo .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2020 Springer Nature Switzerland AG

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Cañas-Bajo, J. (2020). Emotional Film Experience. In: Rousi, R., Leikas, J., Saariluoma, P. (eds) Emotions in Technology Design: From Experience to Ethics. Human–Computer Interaction Series. Springer, Cham. https://doi.org/10.1007/978-3-030-53483-7_7

Download citation

  • DOI: https://doi.org/10.1007/978-3-030-53483-7_7

  • Published:

  • Publisher Name: Springer, Cham

  • Print ISBN: 978-3-030-53482-0

  • Online ISBN: 978-3-030-53483-7

  • eBook Packages: Computer ScienceComputer Science (R0)

Publish with us

Policies and ethics