Search citation statements
Paper Sections
Citation Types
Year Published
Publication Types
Relationship
Authors
Journals
Film music has powerful aesthetic effects on the perception and understanding of screen content, but does it also influence viewers' sense of connection with movie characters thereby creating antecedents for an experience of empathy? Participants viewed clips showing characters' neutral or ambiguous reaction to an event, person, or object. Viewers rated character likability and their certainty about characters' thoughts in three conditions: thriller music, melodrama music, and no music. The effect of music conditions differed significantly from the no music condition. Compared to melodramatic music, thriller music significantly lowered likability and certainty about characters' thoughts. During subsequent cued recall of screen content, thriller music increased anger attributions and lowered sadness attributions, while melodramatic music increased love attributions and lowered fear attributions. The study provides evidence that film music can influence character likability and the certainty of knowing the character's thoughts, which are antecedents of empathetic concern and emphatic accuracy. Thus film music may be regarded as modulating antecedents of empathic concern and empathic accuracy.
Film music has powerful aesthetic effects on the perception and understanding of screen content, but does it also influence viewers' sense of connection with movie characters thereby creating antecedents for an experience of empathy? Participants viewed clips showing characters' neutral or ambiguous reaction to an event, person, or object. Viewers rated character likability and their certainty about characters' thoughts in three conditions: thriller music, melodrama music, and no music. The effect of music conditions differed significantly from the no music condition. Compared to melodramatic music, thriller music significantly lowered likability and certainty about characters' thoughts. During subsequent cued recall of screen content, thriller music increased anger attributions and lowered sadness attributions, while melodramatic music increased love attributions and lowered fear attributions. The study provides evidence that film music can influence character likability and the certainty of knowing the character's thoughts, which are antecedents of empathetic concern and emphatic accuracy. Thus film music may be regarded as modulating antecedents of empathic concern and empathic accuracy.
Resumen: La hipótesis de partida del presente artículo es que el cine de horror florece en los períodos de crisis social, los cuales a su vez intensifican el miedo al Otro. La película King Kong (1933) constituye un ejemplo paradigmático porque, al albur de la gigantesca crisis económica del 29, presenta a un monstruo que formaliza las más importantes representaciones imaginarias del miedo al Otro que se forjaron en la sociedad norteamericana del momento. Desde esta perspectiva, aquí se pretende analizar sociológicamente hasta qué punto el crack del 29 está detrás del film, qué tipos de miedo muestra y cómo se formaliza en él el terror al Otro. Al respecto, este trabajo concita dos reflexiones: King-Kong anuncia en 1933 la sociedad del riesgo que analizan, en la tardo-modernidad, A. Giddens y U. Beck y el miedo posee una connatural circularidad, presente en el tema y en la estructura narrativa del film. Finalmente, el artículo trata de responder a las preguntas de cómo salir de esta circularidad y cómo evitar el acostumbrado rechazo al Otro. Palabras clave: Sociología del cine. Hermenéutica. Cine de horror. King Kong. Terror al Otro. Abstract: The hypothesis of this paper is that the horror genre flourishes in times of social crisis, which at the same time intensifies the fear of the Other. The film King Kong (1933) is a paradigmatic example because, at the mercy of the huge economic crisis of 29, introduces a monster that formalizes the most important imaginary representations of fear of the Other that were forged in American society at the time. From this perspective, it is sociologically analyze to what extent 29 crack is behind King Kong, what kinds of fear shows the film and how terror to the Other is formalized in the film. This work involves two considerations: King-Kong presages the risk society that analyze, in late-modernity, A. Giddens and U. Beck; and fear has an inherent circularity present in the subject and narrative structure of the film. Finally, the article attempts to answer the questions of how to get out of this circularity and how to avoid the usual rejection to Other.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
customersupport@researchsolutions.com
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.