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.

(2011). Cinematic Empathies. Spectator involvement in the film experience . Retrieved from http://hdl.handle.net/10446/185723

Cinematic Empathies. Spectator involvement in the film experience

D'Aloia, Adriano
2011-01-01

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.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10446/185723
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