Abstract
Film emotions are genuine emotions whose formation and development is affected by conflictive factors. Whereas their arousal, similar to that of real-life emotions, is disproportionately strengthened by the cinematographic medium, their subsequent course is both weakened and interrupted. Their objects, which I view as members of our personal emotional world (not in terms of their supposed fictionality, as often assumed), are also proper intentional objects of emotions: our fear is about the shark on the screen, our pity about the main character. This view allows also for an explanation of two of film emotions’ neglected features: (a) the viewer's emotional attachment and empathy toward film objects and (b) the long-lasting emotional impact films can have on viewers.
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