In this chapter, Adriano D’Aloia discusses the role of empathy in spectators’ involvement in narrative fiction film. He highlights the importance of the ‘quasi’ or ‘as if ’ aspect of empathy: whenwe experience the fictive world of the film ‘as if ’ it was real, while also knowing that it is notand we relate to the other ‘as if ’ they were us, while knowing that they are separate. This ‘asif ’ experience is an imaginary act that activates the spectator’s kinesthetic sensations in amotor imitation of movement perceived in the film, which can be that of a character or ofthe #lm itself, as in the movement of the camera. D’Aloia exemplifies graphically the ‘as if ’experience in film spectatorship by contrasting the reaction of spectators within a #lm whowitness an acrobat falling with the reaction of spectators in the cinema; whereas the formerjump up in horror, the latter remain seated – perhaps also horrified, but viewing the event‘as if ’ real, while not actually happening in front of them.

D'aloia, A., Cinematic Empathies. Spectator involvement in the film experience, in Reason, M., Reynolds, D. (ed.), Kinesthetic Empathy in Creative and Cultural Practices, Intellect, Bristol 2011: <<Cultural & Media Studies>>, 91- 108 [http://hdl.handle.net/10807/3024]

Cinematic Empathies. Spectator involvement in the film experience

D'Aloia
2011

Abstract

In this chapter, Adriano D’Aloia discusses the role of empathy in spectators’ involvement in narrative fiction film. He highlights the importance of the ‘quasi’ or ‘as if ’ aspect of empathy: whenwe experience the fictive world of the film ‘as if ’ it was real, while also knowing that it is notand we relate to the other ‘as if ’ they were us, while knowing that they are separate. This ‘asif ’ experience is an imaginary act that activates the spectator’s kinesthetic sensations in amotor imitation of movement perceived in the film, which can be that of a character or ofthe #lm itself, as in the movement of the camera. D’Aloia exemplifies graphically the ‘as if ’experience in film spectatorship by contrasting the reaction of spectators within a #lm whowitness an acrobat falling with the reaction of spectators in the cinema; whereas the formerjump up in horror, the latter remain seated – perhaps also horrified, but viewing the event‘as if ’ real, while not actually happening in front of them.
Inglese
Kinesthetic Empathy in Creative and Cultural Practices
978-1841504919
D'aloia, A., Cinematic Empathies. Spectator involvement in the film experience, in Reason, M., Reynolds, D. (ed.), Kinesthetic Empathy in Creative and Cultural Practices, Intellect, Bristol 2011: <<Cultural & Media Studies>>, 91- 108 [http://hdl.handle.net/10807/3024]
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10807/3024
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