THEORY OF RECEPTION AND CRITICISM OF FILMS BASED ON THE RECEPTION AND CRITICISM OF THE FILM “ANNA KARENINA” (1997)

Abstract

The word reception means the acceptance of foreign ideas, norms and values or behaviors. Reception history elaborates the reception that a literary text, a film, or in this case an adaptation of a novel, has found in its audience over time. This paper delves into the core concepts of film reception theory, shedding light on how audiences interpret and actively engage with cinematic narratives. The theoretical part includes different perspectives, recognizing that audience responses are shaped by individual experiences, cultural contexts, and societal influences. This study also delves into the concept of criticism, whether that from the audience or from theorists and critics. This study after the theoretical part of the reception elaborates the reception and criticism of the film Anna Karenina (1997) directed by Bernard Rose. As an adaptation of the novel Anna Karenina by Leo Tolstoy (1887), criticism and reception in this case focuses, among other things, on the stallings and deviations of the adapted story. Additionally this paper addresses the evolving landscape of film reception in the digital age, considering the impact of online communities, social media and interactive platforms on audience engagement. This study aims to contribute to the ongoing discourse on film reception theory by providing insights into the multifaceted nature of audience engagement and its implications for the wider field of film studies. During this study, I came to the conclusion that coded messages and pre-existing expectations also influence the audience’s reception of a film. The coded message is deciphered by the audience based on the knowledge they possess and not the way the producer thought. In this case, the producer too should not convey messages that are not easily decoded by the audience.