One post-structuralist critics as a kind of reconstruction or

One of the most
useful ways in which the text primes the emotional response of the viewer is
through character engagement. It can be so that an emotion is having its roots
in the result in part from a detailed evaluation of a particular situation in a
film. As such, the assessment of the meaning of the situation of the film for
the character which is favored by the particular viewer will obviously become a
great part of that evaluation. The emotional response of the audience also
depends on the very nature of situation which is presented in the film and also
on the way in which this situation is unfolded in the course of the movie.
Thus, specific types of narrative scenarios are associated with certain
emotions like an action film is associated with suspense and excitement, a
family melodrama with sentiment and a romantic comedy film with sentiment and
amusement and so on. This relationship between narrative and emotion in cinema
is the subject of research in the recent times in this discourse, but it is
still in a very primary stage. One major question of concern is to identify the
amount of similarity between the emotions which are generated in watching a
film and those emotions which are experienced by human beings in our real,
non-filmic lives.

2.5 Fiction and Non-fiction

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The non-fiction
films are taken by the traditional and post-structuralist critics as a kind of
reconstruction or imitation of reality. This view does give rise to impediments
for the notion of documentary films as it is easily possible to find the
techniques which are used by documentaries to manipulate their materials. Thus,
it initiates the debate that the distinction between the fiction and
non-fiction is illicit and documentary films utilize techniques which are used
in fictional films and they even are duplicitous as they pretend to deliver the
actual reality while the fact remains that they are simply manipulated and are
rhetorically purposeful in nature.

What makes more
sense is that one should think of non-fiction film in light of action theory
which is broad derivation of the speech act theory. Non-fiction films are those
via which the directors assert what they wish to portray and the audience
assumes that the objects, entities and events or situations which are shown on
the screen actually exist(ed) in the real world just like it has been portrayed
in the movie.

Both fiction and
non-fiction films use same techniques for the process of filmmaking and hence
the spectator has the onus on himself or herself to comprehend the films. The
spectator may use similar, although not identical, ways of perception,
comprehension and interpretation while watching both types of films.

2.6 Types of Cognitive Research

Film studies as a
discourse is of great importance due to the fact that film is prominent as a
contemporary form of art and also because a lot remains to be known about the
cognitive response which is evoked in the audience by the stimulations which
are provided by the film.

The paramount need
is to find the theoretical model which extends and even modifies the general
cognitive principles like assimilation and accommodation, schema formation,
memory, and meta-cognition with respect to film presentation. From an
educational perspective, the process by which the viewer constructs meaning
from the film, and thereby reshapes and extends his or her thoughts, is the
more important matter.