SlideShare una empresa de Scribd logo
1 de 1
Spectatorship
Explained
Ambiguity, Fear,
Laughter, Desire,
Surprise, Shock,
Adrenaline,
Challenging,
Inspired.
Spectatorship: the ways film produces
pleasure in an individual viewer.
Technical elements
used by the
filmmaker?
If we watch the same
film, can different
spectators have
different emotional
responses?
Question
What can effect
these responses?
Question
Reception Theory
An audience responds in multiple
ways dependent on their personal
context.
Our personal context is
our own experience,
knowledge and
ideologies.
The Great Train Robbery (1903)
Spectators now will respond
differently to those who watched it
at the time.
READINGS
Preferred: Spector takes the intended
meaning of the text.
Negotiated: Spectator doesn’t take
the full meaning of the text.
Oppositional: Spectator doesn’t
recognise the meanings in the film.
RESPONSES Social Self
Spectator makes meanings similar to
others with similar ideologies.
Cultural Self
Spectator makes intertextual references
based on their own awareness.
Private Self
Spectator relates film to their own
memories and experiences. Find
personal significance in the film.
Desiring Self
Spectator brings their own energy and
intensity to the film that has little to do
with the content of the film.
A2 Film: FM4 – Spectatorship & Documentary

Más contenido relacionado

La actualidad más candente

Introduction to Film
Introduction to FilmIntroduction to Film
Introduction to FilmMrPerrins
 
From Pre-Production to Film Production to Post-Production to Distribution
From Pre-Production to Film Production to Post-Production to DistributionFrom Pre-Production to Film Production to Post-Production to Distribution
From Pre-Production to Film Production to Post-Production to DistributionJoe Nasr
 
Realism in film
Realism in film Realism in film
Realism in film AdiOnita
 
Film theory
Film theoryFilm theory
Film theoryShahEman
 
Intro to Film: Sound and Music
Intro to Film: Sound and MusicIntro to Film: Sound and Music
Intro to Film: Sound and MusicRob Nyland
 
Principles of Film Theory
Principles of Film TheoryPrinciples of Film Theory
Principles of Film Theoryjejohnston
 
Auteur Theory (TV Y1)
Auteur Theory (TV Y1)Auteur Theory (TV Y1)
Auteur Theory (TV Y1)Simon Wright
 
Film Opening Sequence Codes & Conventions
Film Opening Sequence Codes & ConventionsFilm Opening Sequence Codes & Conventions
Film Opening Sequence Codes & Conventionsmimammedia
 
Stages of film production
Stages of film productionStages of film production
Stages of film production07weeksjor
 
Film language
Film languageFilm language
Film languagekrober4
 
Montage - And its types
Montage  - And its typesMontage  - And its types
Montage - And its typesRijitha R
 
History of film
History of filmHistory of film
History of filmKrisyty Ng
 

La actualidad más candente (20)

Introduction to Film
Introduction to FilmIntroduction to Film
Introduction to Film
 
Cinematography | Film Production
Cinematography | Film ProductionCinematography | Film Production
Cinematography | Film Production
 
Cinema verite
Cinema veriteCinema verite
Cinema verite
 
From Pre-Production to Film Production to Post-Production to Distribution
From Pre-Production to Film Production to Post-Production to DistributionFrom Pre-Production to Film Production to Post-Production to Distribution
From Pre-Production to Film Production to Post-Production to Distribution
 
Realism in film
Realism in film Realism in film
Realism in film
 
Cinema
CinemaCinema
Cinema
 
Film Noir
Film NoirFilm Noir
Film Noir
 
Film theory
Film theoryFilm theory
Film theory
 
Film Aesthetics I
Film Aesthetics IFilm Aesthetics I
Film Aesthetics I
 
Film directing
Film directingFilm directing
Film directing
 
Montage
MontageMontage
Montage
 
Japanese movies
Japanese moviesJapanese movies
Japanese movies
 
Intro to Film: Sound and Music
Intro to Film: Sound and MusicIntro to Film: Sound and Music
Intro to Film: Sound and Music
 
Principles of Film Theory
Principles of Film TheoryPrinciples of Film Theory
Principles of Film Theory
 
Auteur Theory (TV Y1)
Auteur Theory (TV Y1)Auteur Theory (TV Y1)
Auteur Theory (TV Y1)
 
Film Opening Sequence Codes & Conventions
Film Opening Sequence Codes & ConventionsFilm Opening Sequence Codes & Conventions
Film Opening Sequence Codes & Conventions
 
Stages of film production
Stages of film productionStages of film production
Stages of film production
 
Film language
Film languageFilm language
Film language
 
Montage - And its types
Montage  - And its typesMontage  - And its types
Montage - And its types
 
History of film
History of filmHistory of film
History of film
 

Destacado

Fm4 spectatorship emotional response A-Level A2 Film Studies
Fm4 spectatorship emotional response A-Level A2 Film StudiesFm4 spectatorship emotional response A-Level A2 Film Studies
Fm4 spectatorship emotional response A-Level A2 Film StudiesIan Moreno-Melgar
 
As film studies editing pp final
As film studies editing pp finalAs film studies editing pp final
As film studies editing pp finalcandifilmstudies
 
Gender in Film (TV Y1)
Gender in Film (TV Y1)Gender in Film (TV Y1)
Gender in Film (TV Y1)Simon Wright
 
Revision of micro features: Cinematography
Revision of micro features: CinematographyRevision of micro features: Cinematography
Revision of micro features: CinematographyBelinda Raji
 
FM4 - 2016 'A' grade answer
FM4 - 2016 'A' grade answerFM4 - 2016 'A' grade answer
FM4 - 2016 'A' grade answerMr Crafts
 
Semiotics Shrek The Movie
Semiotics Shrek The MovieSemiotics Shrek The Movie
Semiotics Shrek The MoviePriyank Loonker
 
FM4 Film Studies Exam
FM4 Film Studies ExamFM4 Film Studies Exam
FM4 Film Studies Examjosiebryce
 
Film Editing Master
Film Editing MasterFilm Editing Master
Film Editing MasterGuy Stanley
 
A2 Media Studies Audience theory
A2 Media Studies Audience theoryA2 Media Studies Audience theory
A2 Media Studies Audience theoryRebecca Abrahamson
 
Laura mulvey, the male gaze
Laura mulvey, the male gazeLaura mulvey, the male gaze
Laura mulvey, the male gazechristimothy12
 

Destacado (16)

Fm4 spectatorship emotional response A-Level A2 Film Studies
Fm4 spectatorship emotional response A-Level A2 Film StudiesFm4 spectatorship emotional response A-Level A2 Film Studies
Fm4 spectatorship emotional response A-Level A2 Film Studies
 
As film studies editing pp final
As film studies editing pp finalAs film studies editing pp final
As film studies editing pp final
 
Juxtaposition
JuxtapositionJuxtaposition
Juxtaposition
 
Gender in Film (TV Y1)
Gender in Film (TV Y1)Gender in Film (TV Y1)
Gender in Film (TV Y1)
 
Revision of micro features: Cinematography
Revision of micro features: CinematographyRevision of micro features: Cinematography
Revision of micro features: Cinematography
 
The reception theory
The reception theoryThe reception theory
The reception theory
 
A2 fem gen
A2 fem genA2 fem gen
A2 fem gen
 
Bethany vaughan
Bethany vaughanBethany vaughan
Bethany vaughan
 
FM4 - 2016 'A' grade answer
FM4 - 2016 'A' grade answerFM4 - 2016 'A' grade answer
FM4 - 2016 'A' grade answer
 
Semiotics Shrek The Movie
Semiotics Shrek The MovieSemiotics Shrek The Movie
Semiotics Shrek The Movie
 
FM4 Film Studies Exam
FM4 Film Studies ExamFM4 Film Studies Exam
FM4 Film Studies Exam
 
Film Editing Master
Film Editing MasterFilm Editing Master
Film Editing Master
 
Semiotics
SemioticsSemiotics
Semiotics
 
Reception Theory
Reception TheoryReception Theory
Reception Theory
 
A2 Media Studies Audience theory
A2 Media Studies Audience theoryA2 Media Studies Audience theory
A2 Media Studies Audience theory
 
Laura mulvey, the male gaze
Laura mulvey, the male gazeLaura mulvey, the male gaze
Laura mulvey, the male gaze
 

Similar a Spectatorship explained

FM4: What is emotion?
FM4: What is emotion?FM4: What is emotion?
FM4: What is emotion?Belinda Raji
 
Uses and Gratification Theory
Uses and Gratification TheoryUses and Gratification Theory
Uses and Gratification TheoryThuvaa Kuru
 
Uses and Gratification Theory
Uses and Gratification TheoryUses and Gratification Theory
Uses and Gratification TheoryThuvaa Kuru
 
Popular film and emotional response
Popular film and emotional responsePopular film and emotional response
Popular film and emotional responseRachel Jones
 
FM4: Week 2 for blog
FM4: Week 2 for blogFM4: Week 2 for blog
FM4: Week 2 for blogBelinda Raji
 
Teaching inception
Teaching inceptionTeaching inception
Teaching inceptionMike Gunn
 
Week 1 Emotional Response
Week 1 Emotional ResponseWeek 1 Emotional Response
Week 1 Emotional ResponseBelinda Raji
 
Zain key concepts
Zain   key conceptsZain   key concepts
Zain key conceptsCat Davies
 
Lesson 1 Emotional Response
Lesson 1 Emotional ResponseLesson 1 Emotional Response
Lesson 1 Emotional ResponseBelinda Raji
 
A clockwork orange – final session
A clockwork orange – final sessionA clockwork orange – final session
A clockwork orange – final sessionJenniferAnnTrimnell
 
Audience- charlie hooper
Audience-  charlie hooperAudience-  charlie hooper
Audience- charlie hooperCharlie Hooper
 
Representation for q1b
Representation for q1bRepresentation for q1b
Representation for q1bLiz Davies
 
Representationforq1b 120227024931-phpapp01[1]
Representationforq1b 120227024931-phpapp01[1]Representationforq1b 120227024931-phpapp01[1]
Representationforq1b 120227024931-phpapp01[1]jonreigatemedia
 

Similar a Spectatorship explained (20)

Spec and Resp - Lesson 1
Spec and Resp - Lesson 1 Spec and Resp - Lesson 1
Spec and Resp - Lesson 1
 
Fm4 Lesson 1
Fm4 Lesson 1Fm4 Lesson 1
Fm4 Lesson 1
 
FM4 Lesson 1
FM4 Lesson 1FM4 Lesson 1
FM4 Lesson 1
 
FM4: What is emotion?
FM4: What is emotion?FM4: What is emotion?
FM4: What is emotion?
 
Emotional response to films 1
Emotional response to films 1Emotional response to films 1
Emotional response to films 1
 
Emotional response in film 1
Emotional response in film 1Emotional response in film 1
Emotional response in film 1
 
Uses and Gratification Theory
Uses and Gratification TheoryUses and Gratification Theory
Uses and Gratification Theory
 
Uses and Gratification Theory
Uses and Gratification TheoryUses and Gratification Theory
Uses and Gratification Theory
 
All doc qs
All doc qsAll doc qs
All doc qs
 
Popular film and emotional response
Popular film and emotional responsePopular film and emotional response
Popular film and emotional response
 
FM4: Week 2 for blog
FM4: Week 2 for blogFM4: Week 2 for blog
FM4: Week 2 for blog
 
Revision 2014
Revision 2014Revision 2014
Revision 2014
 
Teaching inception
Teaching inceptionTeaching inception
Teaching inception
 
Week 1 Emotional Response
Week 1 Emotional ResponseWeek 1 Emotional Response
Week 1 Emotional Response
 
Zain key concepts
Zain   key conceptsZain   key concepts
Zain key concepts
 
Lesson 1 Emotional Response
Lesson 1 Emotional ResponseLesson 1 Emotional Response
Lesson 1 Emotional Response
 
A clockwork orange – final session
A clockwork orange – final sessionA clockwork orange – final session
A clockwork orange – final session
 
Audience- charlie hooper
Audience-  charlie hooperAudience-  charlie hooper
Audience- charlie hooper
 
Representation for q1b
Representation for q1bRepresentation for q1b
Representation for q1b
 
Representationforq1b 120227024931-phpapp01[1]
Representationforq1b 120227024931-phpapp01[1]Representationforq1b 120227024931-phpapp01[1]
Representationforq1b 120227024931-phpapp01[1]
 

Más de smagdeburg

Section c – exam advice
Section c – exam adviceSection c – exam advice
Section c – exam advicesmagdeburg
 
Section c – exam advice
Section c – exam adviceSection c – exam advice
Section c – exam advicesmagdeburg
 
Questions and answers
Questions and answersQuestions and answers
Questions and answerssmagdeburg
 
Revision summer2014fm4
Revision summer2014fm4Revision summer2014fm4
Revision summer2014fm4smagdeburg
 
Transformationscene
TransformationsceneTransformationscene
Transformationscenesmagdeburg
 
Takingstock film
Takingstock filmTakingstock film
Takingstock filmsmagdeburg
 
Racist ideology
Racist ideologyRacist ideology
Racist ideologysmagdeburg
 
Successful lowbudgetfilms
Successful lowbudgetfilmsSuccessful lowbudgetfilms
Successful lowbudgetfilmssmagdeburg
 
Successful lowbudgetfilms
Successful lowbudgetfilmsSuccessful lowbudgetfilms
Successful lowbudgetfilmssmagdeburg
 
The impact of digital technology on production
The impact of digital technology on productionThe impact of digital technology on production
The impact of digital technology on productionsmagdeburg
 
The influence of online fandom on film production
The influence of online fandom on film productionThe influence of online fandom on film production
The influence of online fandom on film productionsmagdeburg
 
Senna analysis
Senna analysisSenna analysis
Senna analysissmagdeburg
 
Using key words in a sentence
Using key words in a sentenceUsing key words in a sentence
Using key words in a sentencesmagdeburg
 
The alien as ‘other’ in district 9
The alien as ‘other’ in district 9The alien as ‘other’ in district 9
The alien as ‘other’ in district 9smagdeburg
 
Easter revision2014
Easter revision2014Easter revision2014
Easter revision2014smagdeburg
 
Article 3 the imposter -psychological journey
Article 3  the imposter -psychological journeyArticle 3  the imposter -psychological journey
Article 3 the imposter -psychological journeysmagdeburg
 
Article 1 the imposter- twisted logic
Article 1  the imposter- twisted logic Article 1  the imposter- twisted logic
Article 1 the imposter- twisted logic smagdeburg
 
Et paragraph task
Et paragraph taskEt paragraph task
Et paragraph tasksmagdeburg
 

Más de smagdeburg (20)

Section c – exam advice
Section c – exam adviceSection c – exam advice
Section c – exam advice
 
Section c – exam advice
Section c – exam adviceSection c – exam advice
Section c – exam advice
 
Questions and answers
Questions and answersQuestions and answers
Questions and answers
 
Revision summer2014fm4
Revision summer2014fm4Revision summer2014fm4
Revision summer2014fm4
 
Transformationscene
TransformationsceneTransformationscene
Transformationscene
 
Takingstock film
Takingstock filmTakingstock film
Takingstock film
 
Racist ideology
Racist ideologyRacist ideology
Racist ideology
 
Successful lowbudgetfilms
Successful lowbudgetfilmsSuccessful lowbudgetfilms
Successful lowbudgetfilms
 
Successful lowbudgetfilms
Successful lowbudgetfilmsSuccessful lowbudgetfilms
Successful lowbudgetfilms
 
The impact of digital technology on production
The impact of digital technology on productionThe impact of digital technology on production
The impact of digital technology on production
 
The influence of online fandom on film production
The influence of online fandom on film productionThe influence of online fandom on film production
The influence of online fandom on film production
 
Senna analysis
Senna analysisSenna analysis
Senna analysis
 
4types
4types4types
4types
 
Using key words in a sentence
Using key words in a sentenceUsing key words in a sentence
Using key words in a sentence
 
The alien as ‘other’ in district 9
The alien as ‘other’ in district 9The alien as ‘other’ in district 9
The alien as ‘other’ in district 9
 
Easter revision2014
Easter revision2014Easter revision2014
Easter revision2014
 
Notes mindmap
Notes mindmapNotes mindmap
Notes mindmap
 
Article 3 the imposter -psychological journey
Article 3  the imposter -psychological journeyArticle 3  the imposter -psychological journey
Article 3 the imposter -psychological journey
 
Article 1 the imposter- twisted logic
Article 1  the imposter- twisted logic Article 1  the imposter- twisted logic
Article 1 the imposter- twisted logic
 
Et paragraph task
Et paragraph taskEt paragraph task
Et paragraph task
 

Spectatorship explained

  • 1. Spectatorship Explained Ambiguity, Fear, Laughter, Desire, Surprise, Shock, Adrenaline, Challenging, Inspired. Spectatorship: the ways film produces pleasure in an individual viewer. Technical elements used by the filmmaker? If we watch the same film, can different spectators have different emotional responses? Question What can effect these responses? Question Reception Theory An audience responds in multiple ways dependent on their personal context. Our personal context is our own experience, knowledge and ideologies. The Great Train Robbery (1903) Spectators now will respond differently to those who watched it at the time. READINGS Preferred: Spector takes the intended meaning of the text. Negotiated: Spectator doesn’t take the full meaning of the text. Oppositional: Spectator doesn’t recognise the meanings in the film. RESPONSES Social Self Spectator makes meanings similar to others with similar ideologies. Cultural Self Spectator makes intertextual references based on their own awareness. Private Self Spectator relates film to their own memories and experiences. Find personal significance in the film. Desiring Self Spectator brings their own energy and intensity to the film that has little to do with the content of the film. A2 Film: FM4 – Spectatorship & Documentary