Film Reception Research Articles

Exploring the combined impact of color and editing on emotional perception in authentic films: Insights from behavioral and neuroimaging experiments

Film color and editing are crucial elements in filmmaking, posing significant questions about their effective use in eliciting emotional responses from viewers. While prior research has explored the impacts of color and editing independently, their combined effect remains largely unexplored, leaving the open question of how these elements together affect emotional perception. This study investigates the combined impact of film color and editing on emotion perception, utilizing both subjective behavioral scales and objective functional magnetic resonance imaging (fMRI) techniques. It employs two experiments with a two-factor design to assess the interactions between film color (colored and black-and-white) and film editing (fearful, neutral, and happy levels) on emotional perceptions. Under the direction of a professional filmmaker, a series of film sequences was created for six experimental conditions. In Experiment 1, 117 participants watched the film sequences and subjectively rated the emotional valence of the neutral face in the sequence, uncovering a significant interaction effect between film color and editing on the valence rating of the neutral face. In Experiment 2, 67 participants watched similar film sequences in an MRI scanner to analyze their brain activation patterns. Distinct activations were identified in regions including the insula, anterior cingulate cortices (ACC), and middle frontal gyrus, where a region-of-interest (ROI) analysis of the left ACC revealed an interaction effect on neural responses. These results underscore the integral role of color and editing in influencing viewers’ emotion perception using two types of measurements. This research provides novel insights into the behavioral and neural responses to filmmaking elements that underpin film reception and offers practical implications for filmmakers, encouraging a more holistic approach to considering color and editing to further enrich the audience’s emotional experiences at the pre-production stage of filmmaking.

Cultural Export and Global Perception of the Mexican Film Industry

This paper examines the dynamic role of the Mexican film industry as a significant cultural exporter and its evolving perception in the global market. It traces the historical development of Mexican cinema from its Golden Age to its modern resurgence, highlighting the contributions of seminal filmmakers and landmark films that have shaped its international identity. The study explores the mechanisms of cultural export, including traditional and digital distribution channels and the pivotal role of film festivals and international awards. Further, it analyzes the global reception of Mexican films, noting the critical and audience responses across diverse cultural landscapes. The influence of Mexican cinema on global film practices and cultural trends is examined through its narrative innovations and thematic contributions. Finally, the paper discusses future trends and identifies potential challenges and opportunities for Mexican cinema, emphasizing the need for sustainable funding models and the balance between global appeal and cultural authenticity. This comprehensive review illuminates how Mexican cinema continues to contribute to and shape the global cinematic landscape, advocating for a more inclusive and diverse film culture.

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

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.

Expressions of a backlash: Challenging the story of success in Norwegian cinema of the 1980s and 1990s

Abstract In this article, we ask if there was a backlash against film feminism in Norway in the 1980s. In Norwegian film history, this decade is known as “the helicopter period” and is associated with a turn towards commercial genre film and classical dramaturgy. This has usually been narrated as a success story for Norwegian cinema. It is, however, also a decade connected to a loss of position for the women directors who had gained a footing in Norwegian cinema in the 1970s. We thus question the idea of progress associated with this decade in film history and propose avenues of investigation. We explore the loss of position of female directors by looking at film reception and film criticism. We further present and discuss a numerical breakdown of women directors and female lead characters in the 1980s and 1990s and point to thematic readings of the on-screen portrayal of women characters in this time span. We find evidence of aggression towards women and a disappearance of women’s film and argue that this points to an anti-feminist pushback in Norwegian cinema of the 1980s and 1990s.

Социально-философские аспекты влияния кинокоммуникаций на сознание людей

The article delves into the multifaceted influence of film communications on human consciousness from a social-philosophical perspective. Emphasizing the significance of cinema as a potent medium of communication in modern society, the analysis explores the intricate dynamics through which films shape individuals’ perceptions, values, and behaviors. Concepts such as media effects, ideological hegemony, and symbolic interactionism are employed to elucidate the complex interplay between cinematic narratives and individual consciousness. Analyzing the process of film reception, the article elucidates how viewers subconsciously internalize cinematic narratives, projecting themselves into the characters and situations depicted on screen. This process engenders a cognitive resonance wherein viewers assimilate the existential themes and values propagated by the film, thereby shaping their worldview and cognitive frameworks. Moreover, the article explores the dual nature of film communication’s influence on human behavior, distinguishing between covert and overt forms of influence. While covert influence operates on the subconscious and emotional levels, shaping individuals’ values and attitudes, overt influence manifests as deliberate and purposeful actions informed by cinematic narratives. By examining the social-philosophical dimensions of film communication, this article contributes to a deeper understanding of the complex interplay between media, ideology, and human consciousness. Acknowledging cinema’s role as a powerful agent of socialization and cultural dissemination, the article underscores the relevance of critical engagement with cinematic texts and the need for media literacy in modern society.

Behind–the–scenes: Aspects of a film reception. The case of The Independence of Romania (Aristide Demetriade, Grigore Brezeanu, 1912) and The Rest is Silence (Nae Caranfil, 2007)

The foreign reader and viewer can find nothing better -or faster, given the exigencies of modern life- than the film as an introduction to the character, history, identity of a nation. With the awards garnered by directors like Cristian Mungiu and Nae Caranfil, new interest has been focused on Romania’s film, community, and history. That is why, an investigation regarding the Romanian early cinema would be necessary in the field of improving education from abroad. The purpose of this paper is to analyze a number of aspects, such as the importance of incorporating a course on cinema in foreign language teaching, one of the major goals being the opportunity to educate the students in the field of movies and thus offering them distinct cultural perspectives. However, this article does not plea for the need of a pedagogy of media studies in higher education, given the complexity of the topic. It rather aims to focus on the history of two Romanian movies: The Independence of Romania (1912) and The Rest is Silence (2007) and highlight the reasons why an urban icon of the city of Tampere is called “Plevna”. This paper sets out to analyze the two mentioned Romanian films who proved to be interesting for Finnish students since they depict an episode of our common history, the 1877 War of Independence (The Russo-Turkish War). At the same time, the paper aims to familiarize them with the allure of the event when Romanian and Finnish soldiers fought shoulder to shoulder on the same front, at Plevna. The Romanian film, The Independence of Romania shot in 1911-1912, was the first feature film to be kept almost entirely in the Romanian National Film Archive; the other one, The Rest Is Silence directed by Nae Caranfil (and representing Romania’s first entry into the 2009 Oscars) and inspired by The Independence of Romania wanted to show the real story of our first full-length filmmaking. Therefore, this latter film contains like a palimpsest an older mute movie, discovered in Romanian Movie Archive. The current article draws upon the insights provided by the Finnish students after watching the two films and summarizes their conclusions. In other words, these lines provide a behind-the-scenes glimpse of what they learned and discovered. The films were met with positive reviews, and we tried to follow the students’ spontaneous reactions and emotions. An important part of our work was to put in perspective the two inspiring patriotic marches which are commemorating the departure of the Romanian and Finnish soldiers at Plevna in the Balkan’s theater of War: Drum bun! (farewell song composed by Ştefan Nosievich to the lyrics of Romanian patriot Vasile Alecsandri) and Kauan on Kärsitty / Long have suffered, a well-known patriotic song of the Finnish Guard (Suomen kaarti). This article tangentially discusses the role of perception in educational activity, which is presented under two correlated aspects, namely: the activity carried out in this sense by the teacher and by the students and the role of cinema in creating cultural memory from a general perspective, in a way that transforms the manner we think of film and its social importance. This article starts from a very particular point of view, as we discovered by pure chance the name of Plevna building in Tampere, and goes to a more general aspect, which is the battle of Plevna, one of the most important episodes from Romania’s modern history.

A Historical-Analytic Perspective on Islam and Cinematic Culture in Northern Nigeria

This article reviewed the intricate relationship between film/cinematic culture and Islam in northern Nigeria and more importantly, the reception of film as a culture in Hausa Muslim societies. Various media ethnographical studies have revealed that since the introduction of cinema, the acceptance and consumption of film and other cinematic products are to a large extent influenced by the Sharia (Holy/ Islamic Law), which serves as a guide for northern filmmakers and a corrective measure for the media representations of the happenings in their societies. The belief of northern Muslims is that films and cinema are harbingers of immorality and should be eschewed. Indeed, and arguably so, this is the general disposition of the northern Muslims to western ways. The overwhelming exertions of the Kano State Film and Video Censors Board (KSCB) make this claim evident. This study considered the mobility and survival of cinematic culture in the heart of Nigeria’s most Islamic centre, Kano, otherwise known as Kannywood. It adopted a historical-analytic approach to the study of the development of cinema in northern Nigeria and examined the cinematic culture vis-à-vis Islam in northern Nigeria. The paper contended that globalisation and the advent of advanced technology are yet to influence film contents from the region or mass acceptance and consumption of modern films by its populace. It concluded that the Sharia and the involvement of Islamic scholars/clerics have inhibited the growth of Kannywood.

The Biafra Story in Film: An Appraisal of Biyi Bandele’s <i>Half of a Yellow Sun</i>

Diverse scholarly and artistic expressions in book form and documentary films have been employed to document the story of the Nigerian Civil War by persons who were actively or peripherally involved in the events surrounding it. Attempts at telling the story have been coloured by different factors like military, political, ethno religious and egocentric considerations. This study examined the war's account through Biyi Bandele’s Half of a Yellow Sun, a filmic adaptation of Chimamanda Adichie’s novel with the same title. Using qualitative content analysis method and grounded on the Trauma and Cinema Theory, the study examined the film’s representation of historical facts and how such perspectives may have been received. The film's reception by the Nigerian cinema audience and government through the cinema regulatory authority were examined. The study concluded that the suppression of critical historical facts in the film through censorship represents the unwillingness of the government to allow for citizen conversation, which the film could provoke and which may lead to proper closure and possibly lay to rest, the ghost of the fratricidal war that almost ripped the country apart between July 1967 and January 1970.

Exploring critical reception and thematic trends: A corpus-based analysis of critic reviews for 'While You Were Sleeping'

This study presents a corpus-based analysis of 51 critic reviews of the romantic comedy "While You Were Sleeping", sourced from RottenTomatoes, to explore the linguistic nuances, thematic focuses, and sentiment orientation in film criticism. Employing corpus linguistics and critical discourse analysis, the study systematically examines the language and thematic patterns in these reviews, aiming to understand the broader dialogue about cinema and its cultural impact. The analysis reveals several key themes: the balance between charm and credibility, the significance of lead performances, narrative plausibility versus genre conventions, cultural and seasonal context, divergent perspectives on humor and tone, the importance of cinematic style and directorial choices, reflections on the romantic comedy genre, and audience engagement and emotional resonance. These findings highlight the complex and multifaceted nature of film criticism, particularly in the romantic comedy genre, where films are evaluated not just for entertainment but also for narrative structure, character development, and adherence to genre norms. The study underscores the importance of external factors such as cultural context and timing in film reception and emphasizes the impact of lead performances and casting decisions on audience engagement and film perception. It contributes to a deeper understanding of film criticism, extending beyond mere entertainment to encompass cultural, narrative, and stylistic considerations. The insights gained can inform future film productions, critiques, and academic discussions in cinema studies.

Introduction: Youth cultures in Nordic cinema

Youth cultures have had a ubiquitous presence on Nordic screens for more than seven decades and are currently experiencing a surge in visibility across streaming platforms. However, studies pertaining to the production, representation and reception of youth film in Nordic cinema have been scarce. This introduction to the In Focus section ‘Youth cultures in Nordic cinema’ provides background and context for the section and presents its four contributing articles.

Fire in the Hole

Drawing on the letters female fans submitted to Motion Picture Magazine between 1914 and 1918, this article seeks to center negative feelings as a constitutional part of Hollywood reception during the World War I years. Emergent at this time, the language of affective film reception took up a combative tenor reflective of women’s lived experiences: anger, derision, and dissent pervade the first-person writings submitted by self-identified movie-loving “misses” and “girls.” Reading their published correspondence as proto-manifestations of feminist “troublemakers” and “killjoys” helps in historicizing early Hollywood fandom as an “intimate publics” commercially centered on women’s culture, but communally appropriated by female consumers as a means to express antisocial responses.

Ольга Кобилянська в кінематографічному дискурсі

The article emphasizes the need to supplement the literary discourse with the topical issue of intermedia poetics, namely the film reception of the biography and works of Olha Kobylianska. It is noted that cinematography had an organic impact on the life and works of the Bukovynian author. This is evidenced by her autobiographies, biographical studies, as well as the works written under the impression of cinema (“By Situations”), or which imply the cinema code in the plot (“Black Apostol”), or those that demonstrate a pronounced cinematic poetics (“Ghost”, “Battle”). The poetry and prose of the author are mentioned to become an integral part of the cinematographic discourse, that is traditionally activated in relation to writers on the eve of their anniversary. The analyzed documentaries “Valse Brillante. Olha Kobylianska” (2013) and “To be one’s own goal. Olha Kobylianska” (2014) present a receptive version of her biography, created in a productive collaboration of filmmakers and literary critics. The functional potential of the biographical films, that popularize and actualize the works of this outstanding personality, contribute to the full understanding of Olha Kobylianska as a complete artistic phenomenon. Emphasis is placed on the fact that compared to biographical projects, film reception of the writer’s works is significantly more productive, which contributes to the reconstruction of a holistic perception of her literary heritage. The films “Earth” (1954), “The Wolfhound” (1967), “The Melancholic Waltz” (1990), “The Princess” (1994), “Nature. The third film” (television series “The Island of Love” 1995–1996), “Early on Sunday, I dug a potion” (2019) are the film texts of different genres that demonstrate the occasional attention to the works by Kobylianska in the cinematic environment, due to a certain historical situation, another anniversary or the desire of filmmakers to reinterpret the works of the classic.

Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics

Abstract This article examines the Swedish fantasy-horror-romance film Gräns (Border, dir. Ali Abbasi, 2018) through queer Indigenous thought and the notion of trans aesthetics, exploring how the film may sensitize its viewers to seeing and feeling with gender variance, queer desire, and the trauma of settler colonialism. Drawing on Eve Tuck's call for desire-based research, the article asks what is at stake in queer, trans, and decolonial readings of films that are not necessarily identifiable as such at the surface level. Border centers on a love story between two gender-fluid trolls who pass as human and whose kin have been subjected to genocide, dislocation, and mutilation, but the film's reception largely misses the connection to the treatment of Indigenous Sámi people and transgender people within Nordic settler states. The article argues that Border's ecstatic depiction of gender-fluid desires, bodies, and sex, alongside its examination of the psychic consequences of settler colonial violence, make it a thus far unique film in the Nordic context — even though this examination happens through the distancing effect of trolls as metaphorical Natives. The main characters embody wrongness in the settler nation-state, in heteronormative society, and ultimately in the delimiting category of the human, but the film imagines rightness in nature as a queer, gender-fluid space where all creatures can just be. Through employing notions of trans aesthetics, the (non)sovereign erotic, refusal, and haunting, the article proposes desire-based readings of cinema that envision ways of feeling and existing beyond humancentric, settler, binary notions of gender and sexuality.

The stage-within-the-screen: Peter Brook’s film adaptation of King Lear

Abstract In his film of King Lear (1971), Peter Brook reimagined his landmark production of the play on screen through an intricate interplay of theatrical and cinematic codes. This article revisits Brook’s adaptation, focusing on how its much-discussed debt to theatrical traditions relates to broader issues regarding the production and reception of Shakespearean films in the UK. I argue that the film’s overt affiliation to theatre sets it apart from other Anglophone adaptations of Shakespeare grounded in Hollywoodian conventions that broaden considerably their potential to reach a global audience across time and location. In establishing strong links between his film and the RSC production, Brook’s counter-cinematic approach to filmic storytelling, alongside his casting of acclaimed stage actors, asserted the authority of theatre as a privileged medium where Shakespeare is made to signify. We shall see that the various marks of site-specific theatrical traditions in the film underscore its appeal to a local – rather than global – audience, thus dismantling essentialist and universalist views of Anglophone adaptations of Shakespeare on screen.

From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood

At its inception in the early 1990s, the Nollywood film movement did not attract a positive appraisal from most “learned” critics. Its non-conformist approach to filmmaking made most critics to associate it with the act of just “making images” as well as a lack of respect for cinema. Even major film festivals seemed “not friendly” to Nollywood films. Today, the quality of Nollywood films has remarkably improved even though much is still to be done. However, it remains important to examine if such improvement in quality has affected international film critics’ reception of Nollywood films. Using secondary sources and critical observations this author examines how Nollywood film criticism has evolved over these last years. The author focuses specifically on how the FESPACO and Cannes Festival have received Nollywood productions.

Phenomenology as Experiential Translation: Towards a Semiotic Typology of Descriptive and Expressive Ways of Making Sense of Experience

ABSTRACT This paper critically assesses and argues for the value of first- and second-person phenomenological approaches to researching aesthetic experiences. Against the background of a review of academic debates on the topic of slow cinema, this paper demonstrates the need for more rigorous and grounded research on film experiences. It therefore advocates the implementation of the empirically-informed, second-person research method of micro-phenomenology in the field of film reception studies. It argues for a renewed understanding of phenomenology as experiential translation grounded in a Peircean semiotic framework. From this semiotic angle, it proposes a typology of specific orders, levels, stages, and modes of experiential translation involved in various approaches to phenomenological research. This semiotic perspective also raises awareness of various non-verbal forms of expression, in addition to traditional linguistic forms of description, employed by participants in micro-phenomenological interviews when they intersubjectively transform their film experiences into reflective awareness guided by and through interaction with the interviewer-researcher. This paper promotes expressive phenomenology that includes non-linguistic, gestural, pictorial forms of reporting lived experience as legitimate material as well as non-traditional format of publication of research that meets academic standards of validity and verifiability.

Screening international queer cinema in China

ABSTRACT Given the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.

Audience reception of translated classic films: Zhang Yimou’s Hero in the digital English world

ABSTRACTAgainst the backdrop of cultural globalization, more and more Chinese films are being introduced to the Anglophone world, and Zhang Yimou’s Hero is a particularly informative case because of its huge success. The present study describes and analyzes the reception of Chinese films in the Anglophone world by conducting an in-depth case study of Hero. Drawing on sentiment analysis and corpus-based keyword analysis, we find that Hero received a positive response from both professional and general audiences in four aspects. For character, both groups preferred the complex political characters, love-hate relationships, and certain Chinese actors/actresses. For plot, both groups valued Chinese elements and the wuxia genre. Regarding the scene, both groups enjoyed the fight scenes, but the professional audiences highlighted the aesthetic value of each scene while the general audiences expressed their feelings about the beauty of the piece as a whole. Finally, in terms of translation, the professional audiences focused on the quality of subtitles, while the general audiences highlighted the modality, preferring dubbing to subtitles. This positive but differentiated reception between professional and general audiences can be attributed to cultural discounting, cultural hybridity, cultural memory, translation modalities and translation quality.

Intersections of Multiculturalism, Education, and Identity in 'Entre les Murs’: A Comparative Analysis of Learning Experiences

This scholarly article delves into the intricate layers of the French banlieue film Entre les murs (2008), directed by Laurent Cantet. The article aims to unravel the multifaceted portrayal of banlieue culture and its significance within the cinematic and socio-cultural landscape. It comprehensively analyses the film's narrative, characters, social themes and artistic choices, navigating the complexities of cultural diversity and identity formation within the banlieue context. The film's characters, students, and teachers become focal points for analysis, shedding light on the challenges and possibilities within the education system.
 Further, the article explores the film's cinematic techniques and aesthetics, including its visual style, cinematography, editing, and use of sound and music. The documentary-like approach of the film is examined, considering its impact on the storytelling and the portrayal of authenticity. By analysing the film's artistic choices, this article aims to uncover the subtle nuances and intentional creative decisions that contribute to the film's overall impact.
 Moreover, the article evaluates the critical reception and lasting legacy of Entre les murs. It explores the film's reception among critics and audiences, highlighting its awards, nominations, and influence on subsequent French cinema. It also discusses the film's socio-political relevance and contribution to the discourse on education, multiculturalism and social inequality.
 In addition to drawing upon various scholarly works and theories, the article seeks to place Entre les murs within the broader academic discourse, including areas such as auteur theory, social realism, postcolonial theory, cultural studies and sociological perspectives. Together, these serve to deepen the understanding of the film and its socio-cultural implications.
 Regarding the social context, the article examines the film's position in time-space and the situation of the French educational system in the poor and multicultural neighbourhoods of France. It considers the challenges faced by the education system and explores the plans to address them, contributing to a comprehensive analysis of the film's socio-cultural context.
 In conclusion, this academic article unveils the depths of Entre les murs, shedding light on its portrayal of banlieue realities, the educational system's challenges, and the complexities of multiculturalism and identity. By combining meticulous analysis, scholarly perspectives and an appreciation for the film's artistic merits, this article contributes to the ongoing academic dialogue surrounding the film and its enduring impact on French cinema.

Reception of neorealist films in the Polish Film School

In this article, I examine the influence of neorealism on the ideological and artistic establishment of the Polish Film School. In the first part, I discuss theoretical assumptions about the Polish Film School, focusing on its characteristics and the reasons behind its foundation. Then, I analyse neorealism’s contribution to the Polish Film School in the 1950s using examples from Polish literature. In the last part, I present an analysis of the two Polish films most strongly imbued with the spirit of neorealism: Pokolenie (A Generation) () and Godziny nadziei (The Hours of Hope) (). Through a critical analysis of interviews and press coverage from 1953 to 1955 that takes the historical perspective of Italian neorealist films into account, I conclude that the Polish Film School was most fascinated by the Italian observation of reality and curiosity about human affairs.