EMOTIONS THROUGH MOVIES презентация

Romantic movies

invented the cinematograph.The first movie: ‘The arrival of the train’ (1896) by the Lumieres brothers.
Movies= Moving pictures which creates the illusion of the reality, the audio-visual projection of another world
The only way to ‘see’ a representation of the past, the future and an idealistic or imaginary present.
D.W.Griffith ‘We can never really know the past but continually play with’.
Movie can be an escape to the reality
J.L Baudry ‘a historical one where the development of optics and the technology of mechanical reproduction produce the cinema as a specific visual organization of the subject, and an ontogenetic one, where the cinema imitates the very structure of the human psyche and the formation of the ego’.
Emotion experienced in movies are both universal and social-constructed

with the movie spectator ship’ and the brain process are studied from its beginning since it has such a direct, instant and intense impact on people’s brain
Apparatus theory of J.L Baudry, film theorist: 197Os, cinema is ideological indeed the process to make a movie are ideological. ‘cinema as an institution confines the spectator in an illusory identity, by a play of self-image’. Identification is a main idea
Recent Jan Eder, German audio-visual researcher, 4 levels in watching a movie:
The direct perception of sound and image which stimulates a perceptual effect, then moral and non-moral criteria as well as memory are activated to create individual reaction and attractiveness or rejection, suspense, sympathy or empathy. Finally thematic emotions are activated which involves social norms or individual values.

relationship is a recurrent theme in movies: it is a vast genre

A basic structure: search of love, finding of love, separation, reunion followed by an happy or dramatic ending.
The is the projection an IDEAL LOVE, which tries to replicate the real world by play with this reality.
The film structure, the cognitive process and the emotional response
People experienced multiple emotions by watching a romantic movie: happyness, love, melancholy, sadness… emotions related to memories and souvenirs

active.
The use of the right hemisphere: The visual area
Memory area
Emotion area
Against gender stereotypes:
Everybody has emphatic capabilities, it is proved though that women will tend to use it way more than man
The gender difference between ‘girly movie’ and ‘manly movie’ is not ‘romantic movie’ vs ‘actions movies’
It is in the indentification process: if the main caracter or even the director is a girl, gtils will be more incline to understand it. And the contrary works.

Bogart
Ilsa Lund Rick Blaine

Paul Henreid
Victor Laszlo

Claude Rains
Captain Louis Renault

Conrad Veidt
Major Heinrich Strasser

American classis movie
1942
Won 3 Oscars
https://www.youtube.com/watch?v=Yt1vQ81jNWw
https://www.youtube.com/watch?v=kc02Y4xHWys

THE ICONIC CHARACTERS

movie calls for emotional memories The identification process is stimulated by the narrative, at the time but also today : An impossible love between Ilsa and Frank because of the war and Victor, Ilsa husban (memory for the time but nowaday imagination since it shows a historical past we will never know in reality), The movie was made to push the United States in participating to the Second World War. What explains that 70 years later it is still a classic?

love aside for the cause: The involvement in the war
The Music: La Marseillaise, Gone with the wind intense, smooth and melancholic atmosphere. Also patriotism
Black and white The audience focus on the characteres
The facial expressions
The actions, use of object
Language:‘Here ’s looking at you kid’

Janet Gaynor and Charles Farell
black and white+no sound+only music= facials expressions reinforced, less realistic image (use creativity and imagination to connect with the movie), a more simple narration and emotions
Borzage ‘I like to penetrate the heart and soul of my actors and let them live their caracters’

Frank Borzage
(1894-1962)

He wanted to ‘make the audience sentimental instead of the player. Make the audience act’
Idea that the director influences (instead of manipulates) the emotions of the spectator because he is the one who ‘plays’ with the illusory and makes it own reality.

realism: images are faster (from 16or18 images per secondes now 24), coloured (1936) and talking (1925).
Countries have their own way to deal romantic movies:
Happy ending culture: Love is stronger than your duty in the society. The importance of LOVE as an emotion is different
The use of the body (kiss, nudity, sexual scenes…) is not moraly acceptable the same way everywhere at everytime: In India, kisses in movies were not allowed until the 1990s. When the first kiss ‘The May Irwin Kiss’ was represented on screen in 1896 it was seen as ‘disgusting’.
The inditification process is socially-constructed
Over the time in western countries differents movements in cinema appeared influenced by the political, economic and social situation (expressionism in Germany after the IIWW because the economy is bad and movies cannot compete with the big american productions: use of symbolism. Or Italian Neoralism of the war which can be seen as documentaries. Ex: La Strada (1954) r La Dolce Vita (1960)o f Frederico Fellini. Or the theme of Rebel without a cause (Nicholas Ray 1955) with the iconic James Dean and Nathalie Wood.
With time Love stories are becoming more complex or simply more ‘realistic’ and shows more complexe relationships in respons to the expectation of the spectator: A street car named desire (Elia Kazan, 1951) with Marlon Brando and Vivian Leigh, The cat on a hot tin roof(Richard Brooks,1958) with Elisabeth Taylor and Paul Newman;
The Beauty ideals are also changing.

in 1938 by Marcel Carné
Diologues and story written Jacques Prevert and Pierre Dumarchais
‘t’as d’beaux yeux tu sais?’ (‘You’ve got beautiful eyes you know?’ The iconic Jean Gabin with his old parisien accent and Michel Morgan with her big eyes. The love is itensified by the connection of the eyes
https://www.youtube.com/watch?v=snY3L7RYOOs
Censure of the Vichy regime because it shows the desillusion of an army desartor. Except the movie was supposed to be shown in a war time:
DANGEROUS. It was shown anyway and well received as it answered to the real and general desillusion of the French population.
‘No one consider the barometer responsible for the storm and the function of the artist is to be the barometer of the time.’

Marcel Carné (1906-1993)