Reflexive Viewers : Emotional comprehension and moral meaning making, examples from an audience study in contemporary Sweden

Tomas Axelson [email protected] – article to be submitted – work-in-progress

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Panel presentation International Conference Media, Religion, & Culture

Kent University, Canterbury, August 4 – 6, 2014

Reflexive Viewers

Emotional comprehension and moral meaning making: examples from an

audience study in contemporary Sweden

Tomas Axelson

ThD, Assistant Professor, Religious Studies

School of Humanities and Media

Dalarna University, 791 88 Falun, Sweden

www.du.se/sv/AVM/Personal/Tomas-Axelson

Abstract

The outcome of an empirical audience study in Sweden including questionnaires, focus

group and ten in-depth individual interviews discussing favorite films supports claims about

viewers as active and playful (cf. Höijer 1998, Frampton 2006, Hoover 2006, Plantinga 2009).

What Hjarvard calls the soft side of mediatization processes (2008) is illustrated showing

adults experiencing enchantment through favorite films (Jerslev 2006, Partridge 2008,

Klinger 2008, Oliver & Hartmann 2010). The results of the interviews exploring specific

scenes of idiosyncratic relevance support theories about fiction films as important sources for

moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). The

qualitative results of the case study is used to challenge the claim that the viewer has to

suspend higher order reflective cognitive structures in order to experience suture (Butler &

Palesh 2004). The empirical examples indicate that audiences responses are related to

spectators’ highest levels of mental activity, all anchored in the sensual-emotional apparatus

(Grodal 2009). The outcome is in line with a growing number of empirical case studies which

support conclusions that both thinking and behavior are affected by film watching (Marsh

2007, Sückfull 2010, Oliver & Hartmann 2010, Axelson forthcoming).

The presentation contributes to a development of concepts which combines aesthetic,

affective and cognitive components in spectator’s emotional evaluation of specific scenes

describing spectators seamless movement from of intra-text narration to extra-textual

assessments, testing the narrative for larger significance (Bordwell & Thompson 1997, Marsh

2007, Johnston 2007, Bruun Vaage 2009, Axelson 2011). The concept thick viewing is proposed

for capturing these specific moments of film experience when profound and intensified

emotional interpretations take place.

Key words: film, meaning-making, suture, spectator, narrative impact, spiritual reflection

mailto:[email protected]

http://www.du.se/sv/AVM/Personal/Tomas-Axelson


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1. INTRODUCTION

“The function of filmic narration is to guide the eye and cue the mind” (Elsaesser &

Buckland 2002: 38).

You can see his consciousness kind of … it’s exactly when he opens the door…he is

about to leave…not going to stay. But he happens to hear…and then you see how they

are zooming in on his face. He is about to leave, but changes his mind. And you kind of

see a wrinkle between his eyes. And then …”No, this ain’t right”… sort of. “How the

fuck should I do, just get the hell out of here?”…you know. “Fuck no, I’m gonna give

them bastards!” You can see how he thinks! And then …”Hell no, I’ll beat the shit out

of them!”(Felicia p 18).1

The quote is from a respondent, Felicia, talking about her absolute favourite scene in one of

her most memorable and most appreciated movies of all time, Pulp Fiction (1994).

1.1. To be glued to the screen

Within film theory a concept has developed to capture the process when a filmic narrative

manages to glue the viewer to the screen, “based on the conflation of two looks, that of the

camera and that of the spectator” (Elsaessar & Hagener 2010: 89) and which results in suture.

It has an effect “that ‘stiches’ the viewing subject into the film” where the viewer sticks to the

filmic flow, identifying with its dominant look (Elsaesser & Hagener 2010: 90). It is originally

a term to mark the force or strength of classical continuity editing as the cinematic narrative

technique that creates the very glue that makes the viewer absorbed by the filmic flow.

Despite editing and rupture in cinematic storytelling in the creation of the sujet, something in

these processes seems to facilitate strong attachment and not disengagement. “What may

seem like a fragile bridge actually turns out to be an especially tight bond” (Elsaesser &

Hagener 2010: 90). An understanding of narration and its capacity to capture the viewer has

dealt with psychological and psychoanalytical perspectives for a long time in screen theory. I

will not enter into this contested ground between earlier screen theory heavily dependent on

psychoanalysis (Metz 1974, Mulvey 1975, McGowan & Kunkle 2004) and the later

developments of cognitivists (Bordwell 1985, Branigan 1992, Plantinga 2009). At this stage I

only want to reinforce that there are benefits in being interested in what is going in the mind

of the viewer sharing the viewer’s own words. I do it mainly in line with Carl Plantingas

1 Felicia, 32, about her favourite moment in Pulp Fiction, scene 01:38:18 – 01:38:58: ‘Butch’ hesitating at the

doorstep to the shop, ready to leave. Original in Swedish: Man ser hans samvete liksom… det är precis när han

öppnar…han är ju på väg att gå… har inte tänkt att stanna. Men sen råkar han höra… och sen så ser man ju hur dom zoomar

in på hans ansikte. Nu är han på väg att gå, men så ändrar han sig liksom. Och så ser man hur han rynkar pannan liksom.

Och…”Det känns inte rätt det här”, liksom. ”Nej, hur fan ska jag göra. Ska jag verkligen dra”, så där. ”Nej, jag ska ge dom

jävlarna!”. Man ser ju han tänker! Och sen bara ”Nej fy fan, nu ska dom få!”(Felicia p 18).



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psychological perspective and his arguing for folk psychology (2011) as my empirical

examples below will show.

My aim is to discuss the continuous fusion of affect and cognition when the viewer

experiences what I label, thick viewing. In my definition this is when viewer’s experience

condensed moments of narrative impact where highly emotionally charged scenes are

processed through complex interpretative processes. This is done through a powerful

combination of affect and cognition, creating emotions in Noël Carroll’s understanding when

he defines emotions as affect including cognitive elements (1999: 21). This is a perspective I

endorse in my research, underlining an understanding of emotions to include some kind of

content. Emotions deal with something with an interpretative cognitive component as part of

the process (c.f. Plantinga 2009: 5p). As philosopher Mitch Avila says: “Without the belief it

is just a feeling, not an emotion” (2007: 223). It gives an important place to the function of

emotions and the mental activity which is called intentionality, directed towards the world,

involving concepts and cognition, where things in the world, real or imagined, are

emotionally evaluated (Avila 2007: 222).

Vernacular meaning making embedded in everyday life and spectators dealing with fiction

narratives such as Avatar, Pulp Fiction or Apocalypse Now, highlight the need for a more

nuanced understanding of elevated cinematic experiences. The reported impact of specific

movies is analyzed through theories where cognition and affect are central aspects of

spectators’ engagements with a film (Tan 1996, Caroll 1999, Grodal 2009). Crucially

important are theories of meaning-making where viewers’ detailed interpretation of specific

scenes are embedded in high-level meaning-making where world view issues and

spectators’ moral frameworks are activated (Zillman 2005, Andersson & Andersson 2005,

Frampton 2006, Lynch 2007, Avila 2007, Plantinga 2009). A growing body of empirical

oriented research show interest in what happens with the flesh and blood spectator exposed

to filmic narratives in emotionally engaged ways eliciting enchantment and spiritual

meaning making related to viewers personal world views (Jerslev 2006, Marsh 2007, Klinger

2008, Axelson 2008, Barker 2009, Suckfüll 2010, Oliver & Hartmann 2010, Lövheim &

Bromander 2012, Dahl 2013).

2. THE CASE STUDY - Spectator Engagement

New ways to measure everyday viewing habits show that every day almost one fifth of the

population in Sweden watch a movie. In the age group of my respondents above even more,

23% of the population between 25 and 44 watch a feature film in an average day

(Mediebarometern 2013: 70). The research project Spectator engagement in film and utopian self-

reflexivity. Moving Images and Moved Minds (The Swedish Research Council 2011 - 2014) is

designed to develop and assess a theoretical framework to analyze viewers' response to



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cinematic narration and to better understand viewers being deeply moved by movies. The

overarching aim is to broaden our understanding of the use and need for fiction.

My main research questions were the following. How does engagement in fiction films affect

spectators’ meaning-making processes regarding more profound and long-lasting ideas

about themselves and society? What kind of thoughts and feelings are articulated when

talking about their favourite films in groups and what kind of thoughts and feelings are

articulated when talking individually about significant sequences in these films?

The findings in the empirical data is used to illustrate as well as theoretically developing a

more sophisticated understanding of the complex interplay between moving images and

non-visual meaning-making processes and how spectators use fiction in every-day life

related to self-reflexivity as well as the quest for being part of a moral community, an

interplay between their intra-text experience of narration and extra-text implications for life

outside the cinematic narrative.

Hypothesis

My hypothesis was the following. In a society characterized by individualization and

mediatization people are to an increasing degree dependent on fiction narratives as a primary

means by which we make sense of our experience through time and our place in society.

Moving images are more and more in the centre of culture, providing individuals with

stories by which reality is maintained and by which humans construct ordered micro-

universes for themselves. Stories contribute with a cognitive and affective understanding of

life, including a critical view on contemporary societal conditions as well as utopian ideas

about how life could be. I also brought an assumption that some spectators in the audience

were more engaged in film watching and this engagement is related to an experienced

movement between fiction and real life, testing the cinematic narrative for a larger moral

significance. This was thought to be done in an intriguing and complex interplay between

the fictive world and the viewer’s own reality.

2.2. Method

In 2011, 309 questionnaires were sampled from students of Nursing, Education, Social Care

and Media Programs. In open-ended questions these young adults in their twenties gave

examples of contemporary films of personal importance that dealt with life issues. Some

movies, such as Pulp Fiction (1994), Shawshank Redemption (1994), Avatar (2009), Gladiator

(2000) and Amelie de Montmartre (2001), attracted a collective interest. The questionnaire

functioned as a tool for data sampling in two ways: first for mapping film consumption

habits in Sweden today, second for getting an empirical picture of what kind of stories attract

a wide audience. The target group was dominated by young people in their early twenties.

More than 60% of the 309 individuals answering the questionnaire were between 19 and 25



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years old, and almost everyone in the group was younger than 30. This means that 85% of

the respondents were born between 1981 and 1992.

Interviews

Open-ended questions were used to get answers about favorite films. Interviews were

set up in five focus groups about the most watched and loved films among the

spectators in this group of young adults. Related to my focus on moments of narrative

impact, I finally selected individuals to interview about their favorite film, asking them

about especially important scenes in the movie, 10 interviews in all. Each respondent

outlined their views on two or three selected scenes that touched them the most in the

movie, explaining in detail how and in what ways they were moved.

2.3. Film theory and case studies

The reported impact of specific movies is analyzed through recent film theory and case

studies. The examples of viewers being moved by movies are analyzed first through film

theories oriented towards cognitive perspectives (Grodal 1997, Caroll 1999, Plantinga

2011) where cognition and emotion are important aspects in the spectators’ relationship

with a film and where narration is dealt with through a combination of affective and

cognitive processes. I am especially interested in theories of meaning-making where

viewers’ detailed micro-meaning in specific scenes were embedded in high-level

meaning-making where world view issues and moral frameworks are activated

(Andersson & Andersson 2005, Frampton 2006, Avila 2007, Plantinga 2009, Axelson

2011).

I will also discuss my results in relation to a growing body of empirical oriented research

in film studies where an increasing interest is expressed about what actually happens

with and within flesh and blood spectator’s exposed to filmic narratives (Jerslev 2006,

Klinger 2008, Suckfüll 2010, Oliver & Hartmann 2010).

A theoretical point of departure is the notions used in film studies to distinguish between

‘sujet’ and ‘fabula’. This distinction highlights the hugely important recognition that

spectators actively make meaning. We, as viewers, create the fabula in our minds, fleshing

out the plot to form the full story on the basis of cues in the sujet (Bordwell & Thompson

1997). Bordwell (1985) states that organized clusters of knowledge guide our hypothesis

making in film viewing, based on cues of sound, light, editing, camera angles and so forth in

the sujet. The total fable is constructed through the basis of different cognitive maps where

the film’s sujet and style interact in the course of cueing and channeling the spectator’s

construction of the fabula (Bordwell 1985). The viewer’s everyday life works as a cognitive

background for inferences and the construction of the fabula (Persson 2000). This does not

come out of the blue, but relies on a wide range of basic assumptions and personal



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knowledge. “As an active perceiver, the spectator is constantly testing the work for a larger

significance, for what it says or suggests” (Bordwell & Thompson 1997: 73).

There is though an interesting tension in how one understands the fabula concept whether

you approach the fabula concepts from a story-tellers point of view or from a viewers' point

of view. The maker of the plot has to have an idea of a certain fabula – the story to be told,

and then pick a presented line up of bits and pieces to the screen – the sujet. The sujet is in

other words the visible and audible events that occur during the film as seen and heard by

the viewer (Coëgnart & Kravanja 2012: 87). Thus cueing the viewer in certain ways enabling

the viewer to construct an intelligible and interesting story. A skillful storyteller finds the

right balance between showing enough detailed events on the screen and leaving enough

space empty as gaps to be filled by the spectator, relying on the competence of the spectator

to create the wished for story. This leaves an interpretative space for the viewer and the

ways the viewers use this interpretative space in his or her construction of meaning is at the

center of my interest in this article.

What I argue for is that human beings as skilled consumers of symbols and metaphors are

surprisingly complex creatures and when we enjoy symbolic artifacts such as entertainment

films, we often do this in highly creative, idiosyncratic and unpredictable ways. My purpose

is to empirically illustrate this theoretical claim.

2.4. The outcome of responses in 10 in-depth interviews

Having conducted ten in-depth interviews about the emotional condensed moments I coded

and categorized the interview transcripts in search for expressed dimensions of engagement.

Knowing that a selection of ten is limited I nevertheless was in search of a possible diversity

among the respondents, in a grounded theory spirit. This generated bottom-up qualitative

data which has helped me understand the impact of movies in new ways. Below I present

the mapping out of the dimensions displayed in the group of all ten interviewees before

presenting three individual voices of special interest. In this overview I am aware of the

difficulties separating each theoretical dimension distinctively from one and another, and

this could be developed in length and in detail. Even if this is weakness defining different

aspects of engagement on a theoretical level of precision, I am convinced that some

conclusions could be drawn presenting the pattern. Not all of these dimensions are equally

present in the interviews. Some dominate among a number of respondents and some are

present and dominate in only a few.

Table 1. Different types of engagement outlined analyzing ten individuals being moved by specific

movies and selected scenes.

Dimensions of engagement of moving moments: Theoretical label

1. Film stimulates conversation with others

(Turner, Graeme, 1999)

Social dimension



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2. Film gives relaxed moments of peace

(Höijer, Birgitta & Werner Anita, 1998)

Contemplative dimension

3. Film forms regularity in everyday life

(Lyden, John C., 2003)

Ritual dimension

4. Film generates physical responses

(Grodal, Torben 2009)

Senso-motoric dimension

5. Film frames conflicts in life

(Wuss, Peter, 2009)

Problem solving dimension

6. Film articulates dreams about life

(Johansson, Thomas, 2002)

Utopian dimension

7. Film articulates moral principles

(Zillman, Dolf, 2005)

Ethical dimension

8. Film articulates critique of society

(Elsaesser & Buckland, 2002)

Political dimension

9. Film provides understanding of reality

(Johnston, Robert K., 2007)

Philosofical-existential dimension

10. Film forms understanding of the self

(Vaage, Margrethe Bruun, 2009)

Selfreflexive dimension

11. Film installs altered states of consciousness

(Butler, L. & Palesh, O., 2004)

Hypnotic dimension

12. Film provides sense of cultural coherence

(Lynch, Gordon, 2007)

Symbolic-nomic dimension

13. Film offers audiovisual pleasure

(Best, Susan, 2007)

Aesthetic dimension

14. Film gives insight about filmmaking as art

(Monaco, James, 2000)

Production dimension

In an accumulation of dimensions present in several interviews two dimensions stand out

predominantly present as engaging aspects in the total number of interviews on an equal

level: film forms understanding of the self (self-reflexive dimension) and film offers audiovisual

pleasure (aesthetic dimension). On the next level, the following dimensions are significant

present in a number of interviews: film articulates moral principles (ethical dimension), film

articulates dreams about life (utopian dimension), film gives relaxed moments of peace

(contemplative dimension) and film installs altered states of consciousness (hypnotic

dimension). The ritual dimension, the philosophical-existential dimension as well as the

symbolic-nomic dimension are discernible as the most important dimensions in a few

interviews. Present as a dominating dimension in singular interviews are the production

dimension, the problem-solving dimension, the political dimension, the senso-motoric

dimension and the social dimension. With an aim of developing further understanding of

engagement in audiovisual representations also these less identified dimensions are vital in

mapping out different forms of emotionally commitment to fiction films.



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2.5. Generalizing the findings? Methodological considerations

There is of course an obvious danger in quantifying the findings as I do in table 1 which I

want to play down. With a different sample the outcome would probably change

substantially, numerically speaking. The aim of the presentation is to display a tentative

range of dimensions being involved when the flesh-and-blood-spectator get a chance to explain

in her own words why she is being deeply moved by movies and fiction narratives. And in

this respect I believe these dimension would stand even if the sample of viewers would be

different.

With this said, I think there are things to notice in this qualitative outcome that could have a

bearing in generalized terms. The domination of the self-reflexive dimension, the ethical

dimension as well as the aesthetic dimension points in interesting direction for further

theoretical analysis. The marginal presence of the social dimension of film practice also calls

for a new interpretation of the function of films in contemporary society, less social and more

private. Together with interesting findings in the interviews I conclude that film viewing

sometimes put people in meditative and hypnotic states of consciousness which is hard to

share with others. More than one respondent expressed explicitly avoiding watching

important films in company with others, not even close friends or partners.

2.6. Looking at three separable examples

I asked my respondents in the individual interviews to pick one or two specific scene in their

favourite film. The primary question asked was why they were moved by the scenes and in

what ways. Sitting together in front of my computer we watched the selected scenes. First we

did a regular screening through the scene, then once more or twice, stopping at crucial

moments, going back and forth, giving the respondent time to develop their reaction to the

sequence in relation to the narrative as a whole or with personal associations. Depending on

the respondent it could be about the overall theme of the movie or important details mise-en-

scène. It created an interesting situation where we watched the scenes carefully and several

times. Each respondent could in rather lengthy detail explain to me why they were so moved

and by what. I was cautious using the same phrase to all, ‘being moved’. For me it was an

open question if they would pick something appealing or appalling. Most of them picked

scenes that could best be described as mixed affect in line with Oliver & Hartmanns case study

on meaningful film experiences (2010: 130). But not all. The responses varied. Philip below

was one of few choosing a violent and disturbing sequence.

Let’s take a deeper look into three passionate viewers and how they relate to their choice of a

“special” film, which in various ways has accompanied them in life, helping them to struggle

with their conflicts and important ideas about life. To create an interesting range of different

attitudes for my presentation in this article I picked one respondent, Felicia, demonstrating

what I believe could be a significant and representative view on being moved by a film as an



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emotional experience displaying dominant dimensions of emotional engagement; self-

reflective, ethically and aesthetically, even if her choice of movie might surprise one or two.

Second, I chose Alexander exemplifying an elevated and enchanted experience showing

high-level cognitive and spiritual reflection fueled by utopian affect and aesthetic euphoria.

Finally I present a complicated case, Philip, displaying what I claim exemplifying hypnotic

and dissociative attitude towards a film, used by the respondent as a “private medicine” in a

problematic struggle with a special conflict in life.

Felicia, 40, and Pulp Fiction (1994) – “Life is brutal – and fun”.

Felicia was one of many that mentioned Pulp Fiction as a favorite film, and which she has

watched it now and then repeatedly during life. When she watched the film during her mid-

twenties she immediately identified with Uma Thurman’s character.

Uma Thurman. Uma is strong, sexy and beautiful. And being out partying. Not that I

was doing drugs but much partying and flirting, walking on the wild side. It was

awesome in many ways. And ... her way of dancing (Felicia's 1).2

Felicia was 25 years old and watched this movie that exactly captured her mood at the

moment. Being a young woman, searching for meaning and direction, she was attracted to

the film and Felicia mention the atmosphere of absurdity in the movie which corresponded

to her own experience of life as quite chaotic.

When I was 25 I had this good feeling for the movie because… there are more people

having chaotic lives. ‘Wow, could life be like this?’. It makes you feel less lonely on the

planet to see things that many others seem to have experienced. You share something

(Felicia p 22).3

Felicia believes that real life is hard many times. Life brings losses and misfortunes that can

take you down and you get a dark look on life. But at the same time it is fun. Felicia

appreciates the raw and humoristic violence in Pulp Fiction which says something important

about life as she perceives it. “You have to have this bizarre … you are allowed to laugh at the

misery” (Felicia p 23). 4

At the same time she is also very sensitive to the moral codes brought forth by the characters

in the film Pulp Fiction. Asked about the most significant scene in the whole movie, she

chooses the scene where the protagonist Butch (Bruce Willis) is about to leave the shop

where he and Marcellus Wallace were just kidnapped and were held as captives by a couple

2 Original in Swedish: ”Uma Thurman. Uma är stark, men också sexig och snygg. Att liksom vara ute i svängen. Inte för att

jag höll på med droger men festa mycket och flirta mycket liksom. Och ja, leva så här vilt liksom. Det var häftigt på nåt vis. Och …hennes sätt att dansa” (Felicia: s 1). 3 Original in Swedish: ”I 25-årsålder fick jag en ganska skön känsla av den för att… det finns fler som har kaotiska liv. ’Oj, kan livet se ut så här?’. Det kan ju minska ens ensamhet på jorden av att se saker som man känner att man är fler som har upplevt. Man delar nånting”. (Felicia s 22). 4 Orignial in Swedish: “Man måste ha den här bisarra… att få skratta åt eländet på nåt vis” (Felicia s 23).



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of male rapists. He has the chance to get free but at the doorstep he cannot just go out on the

street and leave the place. He hesitates.

Scene 01:38:18 -

You can see his consciousness sort of … it’s just when he opens the door…he is about to

leave…not going to stay. But he happens to hear…and then you see how they are

zooming in on his face. He is about to leave, but changes his mind. And you kind of see

a wrinkle between his eyes. And then …”No, this ain’t right”… sort of. “What the fuck

should I do, just get the hell out of here?”…you know. “Fuck no, I’m gonna give them

bastards!” You can see how he thinks! And then …”Hell no, I’ll beat the shit out of

them!”.5 (Felicia p 18).

These seconds are very important for Felicia’s engagement with the character Butch. Because

this decision makes her like him much more. She wants him to help Marcellus. And doing

this Butch shows her that he is more than simply a killer, which he obviously is capable of

being. But in Felicia’s mind he lives in a moral universe after all.

We all live in a universe, we live in different worlds. And you may think this world is

brutal and ruthless world. But if you only see that, you don’t see these small moments

of moral acts… and that there is humility and sensitivity as well. (Felicia p 20).

Felicia thinks that you actually find a moral code in Pulp Fiction. She conducts a moral

assessment of this very violent setting of the film. “In their world it is somewhat okay to fight and

kill. But doing that [the raping in the basement] is their moral line. You don’t do that (Felicia p 17).

These seconds while zooming in on the facial expression of Butch is one example of a

condensed moment of narrative impact which in Felicia’s viewing process is filled with

affects, evaluating emotions and high-order cognitive activities. There is affect on a basic

level, together with Felicia’s moral assessment and her belief system activated by the scene

creating complex interpretation.

There are things that are worse than death, sort of… which he [Butch] does not accept.

These things are not right (Felicia p 19).

Butch is jeopardizing his own safety at this moment going back trying to save his former

enemy, according to Felicia. The easy way out would be to just walk away from the shop.

“He takes the risk because he has a consciousness. He cannot let it go. It doesn’t feel right (Felicia p

5 Original in Swedish: ”Man ser hans samvete liksom… det är precis när han öppnar…han är ju på väg att gå… har inte tänkt

att stanna. Men sen råkar han höra… och sen så ser man ju hur dom zoomar in på hans ansikte. Nu är han på väg att gå,

men så ändrar han sig liksom. Och så ser man hur han rynkar pannan liksom. Och…”Det känns inte rätt det här”, liksom.

”Nej, hur fan ska jag göra. Ska jag verkligen dra”, så där. ”Nej, jag ska ge dom jävlarna!”. Man ser ju han tänker! Och sen

bara ”Nej fy fan, nu ska dom få!”(Felicia p 18).



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19). This is part of the fiction emotions within the narrative where the actions of protagonists

create moral engagement and empathetic emotions.

Included in the rescuing scene is also a moment in which Felicia expresses an appreciation

on the mise-en-scene with another kind of fictional emotion; appreciation of mise-en-scène.

Scene 01:40:29. Butch pushes a sword in rapist’s stomache while music stops

Felicia looks at the scene as if it was a dance. She enjoys the way the film is made as a flow

with a combination of music and movement. It is like poetry in her eyes. Here I also find a

glimpse of emotions related to the making of the fiction; B: artifact emotions. I argue that

these expressions from Felicia’s point of view supports the idea that there is a seamless

movement between viewers evaluation of the aesthetics qualities of the narrative – intra text

– combined with fiction emotions related to empathetic engagement in the narrative closely

intertwined with an evaluation of its reference to real life moral issues – extra text.

Summary

The overall message in Pulp Fiction creating resonance in Felicia’s’ personal world view is

that the film helps her cope with life as brutal as well as fun. The film does that through a

strong female character, Mia Wallace (Uma Thurman), much like herself when she was in

her mid-twenties, a partying girl in the middle of life’s turmoil, more or less chaotic, a young

woman in search of enjoyment and direction. Pulp Fiction seemed to help Felicia deal with a

personal conflict in a process of searching for orientation in life during a sensitive phase

when she was 25 years old, which involves idiosyncratic responses on a personal level as

well as high cognition where Felicia’s personal belief system and moral world view is deeply

embedded in the enjoyment of the film, especially apparent in the key scene of her choice

above. A moment of emotional condensation and narrative impact where affects, cognitions

and emotional evaluations are blended.

Alexander, 23, and Avatar (2009) – “Living in spiritual and ecological

harmony”.

Alexander is a man 27 years old and one of many who was awestruck by James Camerons

Avatar when it was released in 2009. Some of the participants in the questionnaire claim they

have seen the film Avatar 30 times or more. Alexander has a more modest rate of viewing the

film but he had seen it at least five times. He went to the cinema and watched it with some

friends when it was released and the film immediately touched him very deeply. In fact he

was so moved by the story that he felt ashamed to admit it to his friends who dismissed the

film as a rather crappy Pocahontas rip-off. There was not so much for him to say really since

they judged it as silly and not creditable of any enthusiasm and he kept quiet about his

experience.



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But the film was some kind of awakening for Alexander and it sparked him into thinking

about themes in life that he dwelled upon when he was much younger, the wish to live close

to nature, the wish to be close to animals. He was profoundly inspired after the first

screening. He tries to describe for me what it was.

I don’t know. The film puts the finger on something in me I really can’t describe in words.

Only that… the whole world and the aesthetics is… kind of … picked directly out of

mind. In a way (Alexander p 6).6

Alexander explains for me that the film is “a sort of dream about a higher and more dignified life”

(Alexander p 1).7 Alexander also appreciates the expression of a critique of contemporary

society and the ongoing development of the world, where society today according to

Alexander has lost its connection with nature and down-to-earth contact with plain life.

The key scene in the film was not difficult for Alexander to choose. Every time he views this

sequence he shivers. It is the scene where Jake manages to harness the great red dragon and

becomes the dragon rider ‘Toruk Makto’. As the dragon rider he returns to the Na’vi group

with immense respect and prestige.

Scene 01:50:56 - Jake returns as ‘Toruk Makto’

Alexander thinks the scene is both spectacular and intimate, filled with mixed feelings

among the Na’vi which he perceives as an ambivalence between despair and hope when

they see Jake coming as the Rider of the Last Shadow.

When he comes from heaven and lands and the Na’vis cover up and back away and they

don’t know if they should run away or…”What’s happening?”. There is such a beautiful

ambivalence between fragility and enchantment in some way. They are on the brink of

break down and annihilation and here he comes and they really don’t know if this is the

end or… their salvation. It’s very powerful for me. (Alexander p 16).8

Alexander identifies explicitly with the protagonist Jake and his journey trying to become a

member of the Na’vi community. And he enjoys Jakes journey coming closer and closer to

the Na’vi, looking to become one of them. “It’s so beautiful to flow with the film while the story

unfolds. I just feel myself into this world. Extremely fascinating. And this great sense of community

6 Original in Swedish: ”Jag vet inte, filmen sätter fingret på nånting i mig som jag inte riktigt kan beskriva med ord. Bara hela

…den här världen och estetiken är… liksom… plockad rakt ur huvet på mig. På nåt sätt” (Alexander p 4). 7 Original in Swedish: ”En slags dröm om ett högre och värdigare liv” (Alexander p 1).

8 Original in Swedish: ”Just när han kommer där från himlen och landar och Na’vi-folket kryper ihop, backar och vet inte om

dom ska springa därifrån eller om dom ska …eller vad som händer. Men det är sån himla…ambivalens mellan skörhet och förtjusning…på nåt sätt. Dom är på gränsen att bryta ihop och förintas och så kommer han och dom vet inte om det där är …det sista slaget i kistan, sista spiken i kistan, eller om det är deras räddning. Det blir väldigt starkt för mig” (Alexander p 16).



13

and belonging in the tribe” (Alexander p 5).9 This aspect of identification with the journey of

Jake is actually a philosophical issue for Alexander which he ponders upon in our interview.

He believes that everything is connected with everything else. Everything functions together

in the cosmos, an almost as it is depicted in Avatar.

And it’s a bloody beautiful idea to meditate upon everything being connected and that

everything is interdependent on everything functioning together. And at the same time,

we as humans have drawn a line between us and everything that is tied together.

(Alexander p 7-8).10

Alexander talks about the existential condition that makes us ‘detached’ from the rest of

nature and his wish in life to transcend this condition, “to overcome this detachment and unite

with the total wholeness, or perhaps accept oneself as a part of everything”11 When Neytiri explains

how the universe works through the cosmic energy called Eywa, Alexander listens

attentively to what she says in the film. “She indicates that there is some kind of consciousness…a

planetary consciousness or what to call it. And that Nature itself is a conscious force, like a… deity”

(Alexander p 10-11). 12

This is a fascinating moment in the interview when Alexander is struggling to find the right

words for his thoughts. He was not brought up within a Christian family nor acquainted

with alternative forms of spirituality among friends. He thought a lot during childhood, he

says, and these ideas are not anything he would share with his family or ordinary friends.

He is eager to find an adequate description of what he personally believes in and this

becomes especially poignant talking about the force that pervades the universe according to

the Na’vi woman in the film. Alexander spins around this idea and how he perceives it.

But it is a physical, biological deity … if I believe there is such a deity. Yes. All of

nature itself is something big altogether (Alexander p 11). 13

Scene 01:53:55 - Grace passes through the eye of Eywa.

The scene immediately following the Toruk Makto-landing is also highly significant for

Alexander when the Na’vi queen and priestess Mo’at tries to help Grace pass through the

eye of Eywa. The pulse and the energy displayed in the group are marvelous, according to

9 Original in Swedish: ”Det är skönt med filmen att bara följa med, att flyta med i den här historien. Jag bara känner mig in i

den här världen. Otroligt fascinerande. Och så den här enormt starka gemenskapen som dom har i den här klanen”(Alexander p 5) 10

Original in Swedish: “Och det är jäkligt vackert att tänka på att allting verkligen sitter ihop och fungerar ihop och är beroende av att allting fungerar ihop. Samtidigt som vi människor har dragit en linje mellan oss och allt det här som sitter ihop” (Alexander p 7-8). 11

Original in Swedish: ”Att övervinna den här… ’detachment’ … och bli ett med helheten. Eller kanske acceptera sig själv som en del av allting” (Alexander p 17). 12

Original in Swedish: ”Hon antyder att det ska finnas något slags medvetande…som är planetariskt medvetande eller vad man ska kalla det. Och att, ja, naturen är en medveten kraft. Som en … gudomlighet” (Alexander p 10-11). 13

Original in Swedish: ”Fast det är en fysiskt biologisk gudomlighet…om det för mig finns nån slags gudomlighet så är det en sån gudomlighet….ja, hela naturen tillsammans är …nånting stort” (Alexander p 11).



14

him. Grace was too weak though and failed eventually. Instead Jake finally succeeded in

going through the whole process at the end of the movie. “He is about to be reborn and become

the avatar for real, leaving his body, through Eywa, and into his avatar body” (Alexander p 17).14

At the end of the interview he concludes that this idea expressed in Avatar is actually what

he is longing for in real life. “He has reached it and has become one with the whole. Reached exactly

what I wish to reach (Alexander p 17).15

Summary

The overall impact of the narrative for Alexander can be summed up in a sentence where he

articulates a conclusion filled with philosophical and emotionally charged personal meaning

for him. The films aesthetics combined with a narrative essence are filled with a beautiful

message according to Alexander: “Just the possibility to understand that you are not the centre of

the universe but… a part of everything and…that everyone else…and everything else … is a part of

yourself” (Alexander p 17). 16 The experience of Avatar points in some different directions.

Partly it articulates for Alexander a critique of society and the ongoing development in the

world but most of all it fuels a powerful vision with a great portion of euphoria and utopian

affect for Alexander and which could best be described as a spiritual dream of a non-

detached life in a close relationship with nature.

Philip, 22, and Apocalypse Now (1979) – “Film as my medicine”

Philip was only 14 when he came across Apocalypse Now. He believed it was some kind of

spectacular war film. It was, but not in the way he had anticipated. It made an enormous

impact on him. ”It was almost a religious experience first time I watched it. It showed me what a film

really can be” (Philip p 16).17 He explained that after seeing it, the world was not really the

same for. ”I felt like…I don’t know…It was like the world was not as simple anymore” (Philip p

16).18 What captured Philip were something about the ambiguity of life and how quickly a

human situation could switch from normal to completely absurd or downright dangerous.

Soon, when he entered upper secondary school, this film became extremely important for

Philip. “I used it like some kind of a medicine or something (Philip p 5). Philip was deeply

dissatisfied with his situation in school. He did not make any friends as a newcomer and

eventually he became secluded and lonely in class. I didn’t have a foothold and didn’t know

where to go in life. (Philip p 5). The teachers tried to deal with the situation but without any

real change, only surface behavior changed. 14

Original in Swedish: ”Han ska födas på nytt och bli avataren på riktigt och går igenom från sin kropp, genom Eywa och till sin avatarkropp” (Alexander p 17). 15

Original in Swedish: ”Då har han nått fram till det här och blivit ett med helheten. Uppnått precis det här som jag skulle vilja uppnå” (Alexander p 17). 16

Original in Swedish: ”Bara möjligheten att förstå att man inte är universums centrum utan … en del av allt och… alla andra… allt annat… är en del av en själv “ (Alexander p 17). 17

Original in Swedish: ”Det var nästan en religiös upplevelse första gången jag såg den. Det liksom visade mig vad en film kan vara” (Philip p 16). 18

Original in Swedish: ”Ja, jag kände…jag vet inte…det var som om världen inte var så enkel längre” (Philip p 16).



15

This biographical note is important as a background to understand Philips choice of the

scene in the film, that moved him the most.

Scene 01:29:09 – The patrol boat kills all Vietnamese on the djonk

In the sequence we follow a US Army boat up the river when they happen to encounter a

small Vietnamese boat carrying vegetables and food. The patrol boat is on a top secret

mission taking Captain Willard up the river beyond a proscribed border line illegally into

Cambodia. Philip notices that they did not really need to confront the Vietnamese boat and

their passengers. “It’s not their mission. They don’t really need to search the boat” (Philip p 10). 19

The boats captain nevertheless decides to search the Vietnamese locals. “I feel he there tries to

stick to the military rank order, sort of …against chaos” (Philip p 10).20

Due to language barriers they misunderstand the situation where a woman is sitting on a

basket not moving from it. A young black soldier loses his temper and starts shooting against

the Vietnamese. In the total chaos the rest of the American soldiers start shooting. Soon

almost every Vietnamese is dead and the shooting stops. One woman is still alive, though

bleeding and badly hurt. The American soldiers try to bring the wounded woman on board

to deliver her to a Vietnamese camp up the river for treatment. Captain Willard, who has

been a by-stander during the shoot-out, steps forward, takes his gun and without further

notice shoots the wounded woman to death.

Philip points to the strange and relentless determination in his action. “The brutality of it. I

think it is interesting in the scene that Willard already knew where it should lead” (Philip p 11).

Philip points to the paradox of the soldier’s behavior, shifting between complete madness

and reckless brutality and the military code of care-taking of the wounded. ”This double

standard, the crew shoot all the people in the boat and then they still want to rescue this woman”

(Philip p 12). Philip dwells on this morality which is present on the surface but in any

moment could crack to something menacing and lethal. “You know what I mean? That people

may try to behave and do the morally right thing, and then…in a sudden, haphazardly they go beyond

the restrictions” (Philip p 13).21

Morality is random and arbitrary

Philip is all too familiar with this random character of moral behavior and when ethical

principles are abandoned in a blink of an eye. He links it with situations in school when he

was isolated and nobody wanted to include him. Sometimes they also ridiculed him in class.

He explained how a situation could shift from correct and almost pleasant company with the

others in class, and suddenly it just changed to the opposite.

19

Original in Swedish: ”Det är inte deras uppdrag. Dom behöver ju inte egentligen kolla igenom båten” (Philip p 10). 20

Original in Swedish: ”Det känns som att han på nåt sätt där försöker klänga fast vid den här militära rangordningen, på nåt sätt…stå emot kaoset” (Philip p 10). 21

Original in Swedish: ”Förstår du hur jag menar? Att människor kanske försöker följa den här moraliska rätten men sen så…kan man bara när som helst, godtyckligt gå utanför dom ramarna” (Philip p 13).



16

The others behaved in front of the teachers, the authorities, so to speak. And strangely

enough, I socialized with the others in the group. And then it just blew off in the group

against me. And then back to normal again. It was expected that we should socialize in some

kind of … nice manners (Philip p 13). 22

For Philip these situations created extremely strong emotions whenever he or someone else

was hit by the sudden swing from the normal face of the group to grim brutality.

Guilt and revenge

He speaks about the guilt he felt in these moment when he was unable to do anything about

it, powerless to defend himself. “That I didn’t do anything. I felt unable to…”Why don’t you stand

up for yourself?” (Philip p 14).23 Philip also reflects on something more uncomfortable and

awkward. He became used to and adjusted himself to abnormal circumstances and accepted

tiny pieces of normal behavior and glimpses of security, comfort and company even though

the situation was distressing in unacceptable ways. “A guilt that I sort of…when it was alright I

accepted it. I took the small pieces of normality I could get” (Philip p 15).24 The situation was

unbearable in class and it did not solve until Philip changed school and moved on in life and

befriended new people around him.

But the experience of psychological bullying and ostracism directed towards him and others

established a cold fury within him that he harbored and concealed in himself, never

exposing, only imagining. “Many times you just wanted to have a machine-gun and …(showing a

move with his hands shooting with an imagined machine-gun)” (Philip p 14). 25 He ponders

upon the similarities between the scene that moves him in the film Apocalypse Now and his

school reality. “The randomness. One moment it is safe and the next moment it is… fatal” (Philip p

15).26 It is exactly what it is like for the Vietnamese in the sequence. First it is safe and the

soldiers conduct correctly. “And then it explodes. And then back to normal again” (Philip p 15).27

Summary: dissociation and altered states of consciousness – ‘ego state’

I interpret the interview with Philip as if we were walking on thin ice and touching on

delicate personal issues. Philips description of his inner feelings about the sequence and the

topic involved led me to include other perspectives than previously adopted interpreting the

interviews above. Mapping different impact dimensions in the empirical output, in this

22

Original in Swedish: ”Dom andra skötte sig inför lärarna, inför auktoriteten, om man säger så. Det var ju väldigt konstigt för att man kunde umgås vanligt. Och sen kunde det smälla till i grupp så där. Och sen så var det helt normalt igen. Det förväntades att skulle umgås normalt liksom så här…fina snälla på nåt sätt” (Philip p 13). 23

Original in Swedish: ”Dels det här att man inte gjorde nånting. Man kände sig oförmögen att …”Varför står du inte upp för dig själv?” (Philip p 14). 24

Original in Swedish: ”Även en skuld att man liksom… när det var bra…så gick man med på det. Så man tog det lilla normala som man kunde få” (Philip p 15). 25

Original in Swedish: ”Det var väldigt många gånger man ville ha ett automatgevär och bara…” (Philip p 14). 26

Original in Swedish: ”Det är så godtyckligt. I ena stunden kan det vara säkert och andra gånger kan det vara…livsfara” (Philip p 15). 27

Original in Swedish: ”Och sen smäller det till. Sen blir det normalt igen” (Philip p 15).



17

specific case, I needed to supplement the main psychological cognitivist perspective with a

psychoanalytical approach, interpreting a complicated viewing experience.

My conclusion is that I tapped into what Lisa Butler and Oxana Palesh call dissociative film

experiences (2004). They argue that skilled filmmakers create complex characters that allow

the spectator to engage with his och her own history of traumatic memories, projected onto

the characters on the screen. Film gives room for a voluntarily, spontaneously and positive

dissociative experiences where suppressed memories are allowed to come forth within a safe

haven of a film viewing situation in a darkened theatre which serves as a container for the

projection of private and unconscious issues. They claim that these altered states of

consciousness are part of human beings normal psychological resources which we make use

of in everyday life involving non-pathological dissociation in moments of absorption.

In everyday life these would include the normative activities of daydreaming,

imaginative engagement, meditation, formal hypnosis, and pastimes that

capture attention and oblate self-awareness, such as reading an engrossing

book or watching a riveting film (Butler & Palesh 2004: 66).

These characteristics fit well into Philips description of his encounter with Apocalypse Now,

when he states it as religious-like experience. With Philips own words it had an extra-

ordinary impact on him and other quotes from Philip point in the direction that the film

managed to put him in an unusual psychological mood, a changed state of consciousness,

absorbed by the story unfolded on the screen.

It is almost like a meditation. Since I know it so well I can end up into some sort of

pace, I can say… that makes the world…disappear. (Philip p 25-26). 28

He has seen the movie 30 – 35 times altogether, preferably alone, he says. Obviously he

seems to have found a way to enter into an interesting experience of an altered state of

consciousness that Butler & Palesh address, which in itself seems to be coveted and pleasant

for Philip and his way of using this specific movie as his ‘medicine’. My conclusion is that

through the movie he gets in touch with a dissociative ‘ego state’ – an unconscious part of

himself that fuels the sequences on the screen with primary affect related to personal

memories from school intertwined with reasoning about morality in a secondary level of

high cognition.

28

Original in Swedish: ”Det är nästan som en sorts meditativ upplevelse. Eftersom jag känner den så väl så kan jag liksom hamna in nån sorts tempo, kan jag säga…så att världen… försvinner” (Philip p 25-26).



18

3. DISCUSSION

3.1. Idiosyncratic richness in (re)constructing the fabula

A huge body of literature within film studies argues about the ideal and hypothetical

‘spectator’ and how he or she (re)constructs the fabula. In later years a growing body of

empirical case studies has emerged entering in to the discussion (Jerslev 2006, Klinger 2008,

Barker 2009, Axelson 2008, Suckfüll 2010, Oliver & Hartmann 2010). The theoretical based

discussions about the construction of the fabula (Bordwell & Thompson 1997, Coëgnart &

Kravanja 2012) do not capture the unexpectedly wide range of meaning-making processes

that unfolds when scholars ask flesh-and-blood spectators about how they actually construct

their fabula. What has been underestimated in previous research on narrative impact is what

I refer to as thick viewing adding more profound and personal world-view concepts into the

equation, a concept which creates a broader range of included mental processes, from basic

emotions to high cognition, including normative critical views on culture and society.

Figure 1. A schematic figure of meaning-making processes while watching films, underlining the

combination of affect and cognition as well as a combination of intra-text and extra-text critique.

Film Viewer’s Meaning Making

Processes

EMOTIONAL EVALUATION

AFFECTS + COGNITIONS

SUJET= Input

FABULA = Construction of meaning

A + B

COGNITIVE COMPONENTS:

EVALUATIONS INFERENCES

JUDGEMENTS

AFFECTIVE COMPONENTS:

SENSUOUS AROUSALS

MOODS

A = Internal Critique Interpretation of the narrative – intra text:

----------------------------------------------------------------------------------

B = External Critique Testing for a larger significance – extra text

Idiosyncratic interpretation

Conflicts and dreams in life

Self image negotiations

Moral critique of society and development in the world

Spiritual reflection

”THICK VIEWING” (thematic-aesthetic-artifact)



19

I believe my respondents respectively articulate and exemplify these processes. In certain

film moments of emotional condensation, as spectators, they are absorbed by the narrative –

intra text. Simultaneously they are deeply engaged in extra-text references, testing the

narrative for a larger significance, in profoundly idiosyncratic and personal ways, dealing

with their own specific conflicts and aspirations in life, also displaying a normative critical

approach to contemporary culture and development in the world. As philosopher Mitch

Avila puts it. “Primary, basic emotional responses are given interpretative content by higher-

order cognitive processes that follow temporally” (Avila 2007: 234). When this kind of

multilayered mix of affects and cognitions takes place, identified as viewer’s expressions of

emotional condensation appreciating key scenes in significant movie experiences, I believe

we could interpret this as some kind of “deepening gaze” (Johnston 2007: 307).

3.2. Narrative impact – intra-text and extra-text evaluation

When profound meaning-making takes place, through condensed moments of elevated

enchantments accompanied by intense interpretation, I find a mix of affects and cognitions at

hand, creating emotionally anchored perspectives. The viewer seems to engage in several

different ways while enjoying movies. From empirical examples in my interviews with

respondents I argue that this includes ‘high cognition’ where the viewer relates to the

protagonist partly due to a moral judgment and an ongoing evaluation of virtuous and less

virtuous behavior on behalf of main characters.

I believe Torben Grodal’s general theory of the film experience (2009) is illustrated through

the qualitative data in the project.

Figure 2. The PECMA flow model outlined by Torben Grodal

Source: Grodal, Torben Kragh (2009). Embodied visions: evolution, emotion, culture, and film. Oxford:

Oxford University Press

In his model he creates a flow which engage cognitive and affective activities anchored in the

brain’s general architecture when perception is processed. First (1) visual cortex is started

with analysis of visual forms. Second (2) Association cortex is stimulated with memory



20

matching and lyrical assocations. Third (3) prefrontal cortex is triggered with cognitive

appraisal and reality status evaluation. Forth (4) motor cortex is activated, at least as small

scale muscular activations. All in all connected to (E) the emotion system. In my interviews

mainly the processes (2) + (3) is communicated by the respondents. What I believe is in most

need of developing a further understanding of is the relation between the audiovisual input

and the idiosyncratic associations intimately combined with prefrontal cortex cognitive

evaluation processes.

There are a several profitable concepts suggested to embrace the complex interplay between

affects, cognition and emotions when individuals respond to fictional narratives. Robert K.

Johnston label it “deepening gaze” (2007: 307) and “transformative viewing” (2007: 305).

Philosopher Mitch Avila proposes “high cognition” (2007: 228) and Casper Thybjerg ”higher

meaning” (2008: 60). Torben Grodal talks about “feelings of deep meaning” (Grodal 2009:

149). With a nod to Clifford Geertz, Craig Detweiler adopts “thick description” (2007: 47) as

do Kutter Callaway altering it to ”thick interpretations” (Callaway 2013: 203). Frampton

states it in a paradox; ”affective intelligence” (Frampton 2006: 166). Detweilers’ choice could

also be a logic next step for my study in order to develop a concept for understanding the

construction of meaning, inspired by anthropologist Clifford Geertz and his well spread idea

claiming a need for thick description understanding cultures (1973). As a result of this

investigation in a search for an apt concept useful for understanding examples of profound

and intensified emotional interpretation of specific moments in fiction film, inspired by

Geertz and Detweiler, I advocate thick viewing.

1.2. Is suture compatible with critical reflection?

Examples of adopting suture-theory and film experiences can be found among scholars in

psychiatry and behavioral science for a better understanding of the captive nature of film

watching related to an altered state of consciousness on behalf of the viewers. Stam,

Burgoyne and Flitterman-Lewis put forward the idea that the cinematic situation as a whole

facilitates this situation.

The darkened theater, the illuminated large screen, and the placement of the

projector behind the viewer, combined with technical equipment (cameras, lights,

etc.), cinematic devices (creating of the illusion of reality), and the viewer’s

unconscious/conscious projections and processes are all part of the cinematic

apparatus employed to produce a “dream state” in the viewer (In Lisa D. Butler &

Oxana Palesh 2004: 65).

When Butler & Palesh analyze the cinematic situation with the help of the concept suture

and they argue that it brings about a suspension of critical reflection. “When suturing is

successful, viewers lose awareness of their surroundings and perceive the events on the

screen as life-like” and the suspension of critical reflection and judgment are necessary



21

preconditions to pleasurable film viewing (Butler & Palesh 2004: 65). They discuss

similarities between the altered state of consciousness while watching a riveting film with

other everyday life activities such as daydreaming, imaginative engagement, meditation, and

formal hypnosis that involves absorption.

Interpreting the results of in my in-depth interviews I want to challenge the claim Butler &

Palesh make that the viewer has to suspend higher order reflective cognitive structures in

order to experience suture. What I find in my study I interpret as empirical examples when

affects and cognitions are intimately tied together in an enchanted and emotional evaluation

of the narrative. It is not a process that needs to be partly subconscious. On the contrary. The

spectator’s response is related to the narration at its highest levels as well as engaging the

spectator’s own highest levels of mental activity, all anchored in the sensual-emotional

apparatus.

Suture with high level cognition – fueled by affect.

If my empirical examples says something on a general level I believe we need to talk about

two kinds of suture. One kind with a lowering of awareness of the extra-text life, creating

absorption in the fiction dominated by affect, inducing an altered state of consciousness

where cognitive appraisals are strongly reduced. Another kind of suture would be of a kind

when critical, ethical and moral evaluation is fully activated, enhancing the commitment to the

fiction on the screen, fueling the filmic experience with euphoric affect, by pre-frontal cortex

assessments, like my respondent Alexander about Avatar or Felicias’ deep feelings for the

Butch character and his moral sensibility in Pulp Fiction.

In his theory of basal morality in drama appreciation Dolf Zillman sheds light over these

phenomenon. “Recipients bring their idiosyncratic morality to the screen, sanction or

condemn witnessed actions and agents in accord with it, and then experience emotions as a

result of their assessment” (Zillman 2005: 176). In his experiments he shows how young

viewers draw cognitive conclusions about protagonists moral character which in turn creates

a readiness to accept and approve the doings of this character. He shows how the cognitive

consideration comes first and the affective disposition only after. It is exactly the response

Felicia displays when she talks about how her liking of the Butch-character is amplified

because of the presence of his consciousness and his sensibility to the suffering Marsellus

Wallace, his enemy (!) in the basement. Her evaluation of him as character comes first,

leading her to increased feelings of sympathy for him as the next phase in the process as a

result of her moral judement, a pre-frontal cortex cognitive appraisal of him as a character.

That is why I put so much effort in mapping out the intra-text – extra-text dynamics in my

model above with a focus on B – External Critique where spectators test the fiction for a

larger significance in unpredictable, playful and idiosyncratic ways, creating condensed



22

moments of intensified engagement in film viewing, mobilizing the spectator’s interpretative

skills in toto, ranging from affect to high cognition creating emotional evaluations.

4. CONCLUSION

In this article I have tried to understand processes on a micro level when trying to interpret

individual’s construction of meaning. Our media society with its all-encompassing presence

of media and media logic provides audiences with innumerable narratives available through

all kind of screening windows. Cinematic narratives, abundantly available in modern media

society, embedded in everyday life provides audiences with stories with a potential for

emotionally anchored normative criticism as well as utopian dreams about life and the world

as it could be. The spectator’s responses creating affect-based high cognition need to be

analysed further on with developed concepts capturing the very thickness of the

interpretative process, where self-reflexive and ethical evaluative dimensions are intertwined

with visual pleasure and aesthetic enjoyment in surprisingly idiosyncratic and unpredictable

ways. Framptons paradox concept ‘affective intelligence’ is challenging and inspires me to

talk about thick viewing processes.

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Documents

Reflexive Viewers : Emotional comprehension and moral meaning making, examples from an audience study in contemporary Sweden