Chapter 5

Question 1

Spectatorship

Answer 1

Concerned with the way an individual is positioned between screen

Audience ceases to exist for the individual spectator

Studies try to generalize how all spectators behave

Question 2

Ideological Effect

Answer 2

Political significance that manipulates the spectator into specific ways of thinking about the world
Example: Mr. Fantastic fox and heteronomativity and marriage beliefs

Question 3

Audience

Answer 3

Concerned with before and after the film

Audience is constructed by mass media institutions

Concerned with large group, but individualizes specific factors that explain why audience may behave

Question 4

Community of Interest

Answer 4

Group of people who share a common interest, but may not live in a close physical proximity to one another

Question 5

Interior Self

Answer 5

Countless memories and desires that can be rarely acknowledged and understand from individual to individual

Question 6

Social Self

Answer 6

Make meanings in ways not different from others

Question 7

Cultural self

Answer 7

Inter-textual references based on bank of personal memories

Question 8

Private self

Answer 8

Own experiences that have personal significance

Question 9

Desiring self

Answer 9

conscious and unconscious energies and intensities to the film event

Question 10

Early cinema

Answer 10

1895-1915

Question 11

mise en scene

Answer 11

Arrangement of props and background in film.

Question 12

Parallel editing

Answer 12

Two events can be followed simultaneously

Question 13

The look

Answer 13

Central concept in relation to the control of the spectator, has been associated with theories of desire and pleasure theories in phychoanalysis (“The male gaze”)

Question 14

Interpellation

Answer 14

Distinctive way the film spectator is placed inside the fiction world of the film. Hailed or called into a place we have no control over.

Question 15

Hegemony

Answer 15

Captures the idea that a set of ideas, attitudes, practices, become so dominant that we forge they are rooted in the exercise of power.
The idealogical rendered invisible.

Question 16

Institutional mode of Representation IMR

Answer 16

Normative set of ideals about what constitutes a mainstream film.

Seen as an example of hegemony, establishing a common sense notion of how a film should be constructed and how it should communicate with an audience.

Question 17

Structuralism

Answer 17

Model of spectatorship that states: From linguistics came the idea that language did our thinking for us.

Films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication.

Question 18

Cognitivism

Answer 18

The brain works with the stimulus it is bombarded with by a film in order to make sense and gain emotional experience.

Question 19

Example of cognitivism: Schemas

Answer 19

A familiar pattern recognized by the mind that allows us to orient ourselves and make sense of what is in front of us.