EMOTION AND FILM THEORY

Abstract

This is a comparison of the emotions we have in watching a movie with those we have in everyday life. Everyday emotion is loose in frame or context but rather controlled and regulated in content. Movie emotion, in contrast, is tightly framed and boundaried but permissive and uncontrolled in content. Movie emotion is therefore quite safe and inconsequential but can still be unusually satisfying and pleasurable. I think of the movie emotions as modeling clay that can symbolize all sorts of human troubles. A major function of movies then is catharsis, a term I use more inclusively than usual.

Throughout I use a pragmatist approach to film theory. This position gives the optimal distance to the study of ordinary, middle-level emotion. In contrast psychoanalysis is too close and cognitive theory too distant. This middle position is similar to Arlie Hochschild’s symbolic interactionist approach to the sociology of emotions, which also mediates between psychoanalysis and cognitive theories.

Citation

Wiley, N. (2003), "EMOTION AND FILM THEORY", Studies in Symbolic Interaction (Studies in Symbolic Interaction, Vol. 26), Emerald Group Publishing Limited, Leeds, pp. 169-187. https://doi.org/10.1016/S0163-2396(02)26012-3