Viewer Impacts and Film Viewer Impacts and Film AttributesAttributes

Selecting Films for InstructionSelecting Films for Instruction

byby

Fontaine Moore, PhDFontaine Moore, PhD©2007©2007

StudyStudy Evolution &Evolution & DesignDesign

Was my high impact experience an anomaly?Was my high impact experience an anomaly?No, according to other accounts on the Internet Movie No, according to other accounts on the Internet Movie Database (IMDB)Database (IMDB)Different impacts for different filmsDifferent impacts for different films

Media research has been neglected by education Media research has been neglected by education since the 1980s despite advent of neurosciencesince the 1980s despite advent of neuroscienceQualitative research study: “Asymmetrical” Delphi” Qualitative research study: “Asymmetrical” Delphi” in three (3) rounds via the Internetin three (3) rounds via the Internet

Round 1: Impact categoriesRound 1: Impact categoriesRound 2: Film attributesRound 2: Film attributesRound 3: Synthesis for educationRound 3: Synthesis for education

Fourteen (14) experts with average experience of Fourteen (14) experts with average experience of 30 years30 years

Film as a Medium for EducationFilm as a Medium for Education

Films come in all flavors and lengths Films come in all flavors and lengths (different from genre which refers more to subject/content)(different from genre which refers more to subject/content)

FeatureFeatureDocumentaryDocumentaryEducationalEducational

People, especially youth, like movies People, especially youth, like movies (popular cultural influence)(popular cultural influence)

Movies can impact in significant ways Movies can impact in significant ways and multiple areas and multiple areas (depth, breadth & longevity)(depth, breadth & longevity)

Learners need to be guided when Learners need to be guided when watching a film watching a film (Directed learning activity)(Directed learning activity)

EmotionalEmotionalMood -Mood - Changes or heightens current mood

Memory -Memory - Brings to mind former emotional states and memories

Worldview -Worldview - Changes or reinforces attitudes and values

CognitiveCognitiveKnowledge -Knowledge - Adds to viewer’s knowledge database: “I never knew that before. So this is how…” (Can either be story or medium-related)

Structure -Structure - Reframes existing knowledge and/or thought patterns

Evaluation -Evaluation - Refinement of evaluative strategies; acquiring new perspectives by grappling with film meaning/techniques

AestheticAestheticBeauty -Beauty - Experience of “the sublime” (See Freeland)

Competence -Competence - A sense of overall quality and technical acumen

IntegrativeIntegrative - - A strong reaction over time involving multiple processes that constitute a turning point in one or more aspects of viewer’s life

ROUND 1: Significant Impact Categories - ROUND 1: Significant Impact Categories - DefinitionsDefinitions

EmotionalEmotionalMood -Mood - “Parts of it were too disturbing and I took a little break out in the hall...”

Memory -Memory - “I sat by myself in the theater with tears streaming down my face, remembering my lost friends and their suffering.”

Worldview -Worldview - “I’ve never quite looked upon love the same way after seeing [this movie].”

CognitiveCognitiveKnowledge -Knowledge - “[The protagonist] was able to save an entire train load of Jewish children by claiming he needed their small hands to polish the insides of shell casings.”

Structure -Structure - “[It] increased my tendency to see works of art as problems to be solved…”

Evaluation -Evaluation - “I found it disappointing and amateurish and not particularly scary. I was just plain puzzled why my students found it so impressive.”

AestheticAestheticBeauty -Beauty - “I just love the period; the music; the color and texture of the film…”

Competence -Competence - “I had never seen a film that was so stylistically perfect.”

IntegrativeIntegrative - - “I could say that [the movie] changed my life…”

ROUND 1: Significant Impact Categories - ROUND 1: Significant Impact Categories - ExamplesExamples

Impact Categories (Emotional)Impact Categories (Emotional)

EmotionalEmotional

MoodMood MemoryMemory WorldviewWorldview

Once defined, emotional Once defined, emotional categories can be placed categories can be placed in a table. This allows in a table. This allows them to be crossed by them to be crossed by film attributes in the film attributes in the rows.rows.

Which attributes of Which attributes of film tend to elicit film tend to elicit which type of which type of impacts?impacts?

Other ImpactsOther Impacts

EmotionalEmotional CognitiveCognitive AestheticAestheticInteg-Integ-rativerative

MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation BeautyBeauty CompetenceCompetence

Cognitive, aesthetic, and Cognitive, aesthetic, and integrative impacts can also integrative impacts can also be added as columns.be added as columns.

ROUND 2: Key Film AttributesROUND 2: Key Film AttributesATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAesthetic

Integra-Integra-tivetive

MoodMood MemoryMemory WorldviewWorldview Know-Know-ledgeledge

Struc-Struc-tureture

Evalu-Evalu-ationation BeautyBeauty Compe-Compe-

tencetence

Theme, content, subject, or “genre”

Artistic integrity via story focusUniversality of theme/s

Character dimensionality & accessibility

Uniqueness of presentationInternal logic within story world

Coherent narrative structureTechnical competence

“Accessible” characters with whom viewers are able to identify and

empathize

Twists, turns, and novel, unexpected story presentation; avoidance of cliché

Cogent narrative structure with a beginning, middle, and end

Clarity and congruence of the visual image and sound

Focus maintained on the story

What the film is about; it’s subject or situation—often described by its

“logline”

“Archetypal” themes, problems, and issues

Coherence and logic to keep belief suspended throughout the story

ROUND 3: Two Instructional ROUND 3: Two Instructional SituationsSituations

PrecedingPreceding instruction as an instruction as an “advance organizer”“advance organizer”

DuringDuring instruction as a means of instruction as a means of content deliverycontent delivery

ATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAestheticIntegraIntegra-tive-tive

Film as an Film as an Advance OrganizerAdvance Organizer

Which cells are most important Which cells are most important PRECEDING PRECEDING instruction?instruction?

Theme, content, subject, or “genre”

Artistic integrity via story focus

Universality of theme/s

Character dimensionality & accessibility

Uniqueness of presentation

Internal logic within story world

Coherent narrative structure

Technical competence

MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation CompetenceCompetenceBeautyBeauty

AA BB CC DD EE FF HHGG

1

3

4

2

5

6

7

8

ATTRIBUTESATTRIBUTES EmotionalEmotional CognitiveCognitive AestheticAestheticIntegraIntegra-tive-tive

Film as Instructional Film as Instructional MaterialMaterial

Which cells are most important Which cells are most important DURING DURING

instruction?instruction?

MoodMood MemoryMemory WorldviewWorldview KnowledgeKnowledge StructureStructure EvaluationEvaluation BeautyBeauty CompetenceCompetence

AA BB CC DD EE FF HHGG

Theme, content, subject, or “genre”

Artistic integrity via story focus

Universality of theme/s

Character dimensionality & accessibility

Uniqueness of presentation

Internal logic within story world

Coherent narrative structure

Technical competence

1

3

4

2

5

6

7

8

Example Considerations When Example Considerations When Selecting Film for InstructionSelecting Film for Instruction

DURING instructionDURING instructionEmotional ImpactsEmotional Impacts

2C2C - Consider how character identification can help - Consider how character identification can help expand the viewer’s point-of-view (POV).expand the viewer’s point-of-view (POV).4C4C - How might the universal nature of the themes fit - How might the universal nature of the themes fit with desired attitudes and values?with desired attitudes and values?7C7C - How could the film’s structure support a - How could the film’s structure support a particular POV?particular POV?

Cognitive impactsCognitive impacts1D1D - How does the film’s subject fit with instructional - How does the film’s subject fit with instructional content?content?4D4D - Consider how the universal nature of the film - Consider how the universal nature of the film connects viewers with new knowledge.connects viewers with new knowledge.1E1E - Does the film’s content support a new way to - Does the film’s content support a new way to conceptualize instructional concepts?conceptualize instructional concepts?3E3E - Does the message faithfully communicated from - Does the message faithfully communicated from the author help reorient information being learned?the author help reorient information being learned?4E4E - Do the breadth or depth of the film’s themes - Do the breadth or depth of the film’s themes support new knowledge structures?support new knowledge structures?5E5E - Is the film sufficiently unique and novel to - Is the film sufficiently unique and novel to support new knowledge structuring?support new knowledge structuring?6E6E - Can the logic of the story world be transferred to - Can the logic of the story world be transferred to structure of new knowledge?structure of new knowledge?1F1F - Think how the film’s subject may facilitate new - Think how the film’s subject may facilitate new ways to evaluate lesson content.ways to evaluate lesson content.4F4F - Does the universal nature of the film’s themes - Does the universal nature of the film’s themes provide new ways to evaluate lesson content?provide new ways to evaluate lesson content?

Aesthetic impactsAesthetic impacts (None)(None)Integrative impactsIntegrative impacts

4I4I - Can the film strongly impact viewers through a - Can the film strongly impact viewers through a universal focus?universal focus?

PRECEDING instruction as an PRECEDING instruction as an “advance “advance organizer”organizer”

Emotional ImpactsEmotional Impacts1A1A - Consider the - Consider the moodmood the subject is likely to the subject is likely to evoke.evoke.2A2A - Can viewers identify with the - Can viewers identify with the characterscharacters??1C1C - Might the subject impact viewer - Might the subject impact viewer values values and attitudesand attitudes??5A5A - Is the film - Is the film uniqueunique enough to maintain enough to maintain attention?attention?7C7C - Consider how well the film - Consider how well the film holds togetherholds together and sets the stage for later instruction.and sets the stage for later instruction.2B2B - Do the characters evoke - Do the characters evoke memoriesmemories that that help prepare viewers for instruction?help prepare viewers for instruction?8A8A - Does the film establish a firm, - Does the film establish a firm, logical logical foundationfoundation for forthcoming instruction? for forthcoming instruction?

Cognitive impactsCognitive impacts8D8D - Is the film novel enough to spur - Is the film novel enough to spur curiosity?curiosity?1E1E - Does the film’s content support a new - Does the film’s content support a new way to conceptualize future instruction?way to conceptualize future instruction?4E4E - Does the film allow the viewer to connect - Does the film allow the viewer to connect to universal themes related to coming to universal themes related to coming instruction?instruction?8F8F - Is the film unique enough to support re- - Is the film unique enough to support re-evaluation of knowledge?evaluation of knowledge?

Aesthetic ImpactsAesthetic Impacts (None)(None)Integrative ImpactsIntegrative Impacts

4I4I - Can the film strongly prepare viewers - Can the film strongly prepare viewers through a universal focus?through a universal focus?

Conclusions: General & Follow-Up Conclusions: General & Follow-Up StudiesStudies

Affect underlies all “significant” learning to the point of Affect underlies all “significant” learning to the point of subsuming cognition subsuming cognition (Emotions are pre-requisites for survival)(Emotions are pre-requisites for survival)

Film, more than any other medium, evokes emotionsFilm, more than any other medium, evokes emotions (See (See cognitive film literature)cognitive film literature)

Film is readily accessible for learners, especially to those Film is readily accessible for learners, especially to those with reading problems with reading problems Film should, therefore, be used more often in instructionFilm should, therefore, be used more often in instruction More research is needed:More research is needed:

Establishment of a full-blown taxonomy for instructorsEstablishment of a full-blown taxonomy for instructorsUse of the taxonomy within an actual educational environmentUse of the taxonomy within an actual educational environmentSimilar research with other mediaSimilar research with other mediafMRI studies to determine brain activity occurring during film fMRI studies to determine brain activity occurring during film viewing viewing (Rafael Malach & Uri Hasson),(Rafael Malach & Uri Hasson), as well as correlation with as well as correlation with demographic and personality factorsdemographic and personality factorsfMRI studies to determine brain activity effects of different fMRI studies to determine brain activity effects of different media and with and without instructional interventionmedia and with and without instructional intervention

Noted ReferencesNoted ReferencesIndividual ReferencesIndividual References

Freeland, C. A. (1999). The sublime in cinema. In C. Plantinga & G. M. Smith (Eds.), Passionate views: Film, cognition, and emotion (pp. 65-83). Baltimore, MD: Johns Hopkins University Press. Hasson, U., Furman, O., Dorfman, N., Davachi, L., Dudai, Y. (2007). "They saw a movie: Long-term memory for an extended audiovisual narrative." Learning & Memory 14: p. 457-467. Retreived October 1, 2007 from Learning & Memory Website: http://www.learnmem.org/cgi/reprint/14/6/457?ijkey=1ae078143c1842f27cd122f4df292845772a57db Hasson, U., Nir, Y., Levy, I., Fuhrmann, G., & Malach, R. (2004). Intersubject synchronization of cortical activity during natural vision. Science, 303, 1634-1640.Retrieved October 2, 2007, from Science Website: http://www.sciencemag.org/cgi/content/abstract/303/5664/1634 Malach, R. (2006). Perception without a perceiver. Retrieved May 3, 2007, from Department of Neurobiology, Weizmann Institute of Science Website: http://www.weizmann.ac.il/Biology/open_day_2006/book/Abstracts/Rafael_Malach.pdf

Cognitive Film TheoristsCognitive Film TheoristsBordwell, D. (1989). Making meaning: Inference and rhetoric in the interpretation of cinema. Cambridge, MA: Harvard University Press. Branigan, E. (1992). Narrative Comprehension and Film. New York: Routledge. Carroll, N. (1988). Mystifying movies: Fads & fallacies in contemporary film theory. New York: Columbia University Press. Grodal, T. (1999). Emotions, cognitions, and narrative patterns in film. In C. Plantinga & G. Smith (Eds.), Passionate views: Film, cognition, and emotion (pp. 127-145). Baltimore: Johns Hopkins University Press. Jahn, M. (2003, August 2). A guide to narratological film analysis. Retrieved November 2, 2006, from English Department, University of Cologne Website: http://www.uni-koeln.de/~ame02/pppf.htmPlantinga, C. & Smith, G. (Eds.). (1999). Passionate views: Film, cognition, and emotion. Baltimore: The Johns Hopkins University Press.Smith, G. M. (2003). Film structure and the emotion system. New York: Cambridge University Press. Sweeney, K. (1994). Constructivism in cognitive film theory. Film and Philosophy, No.II. Retrieved March 19, 2006, from http://www.hanover.edu/philos/film/vol_02/sweeney.htm

DissertationDissertationMoore, F. C. (2007). An asymmetric Delphi study of viewer impacts and film attributes: Selecting film for instruction. United States—Minnesota, Capella University.

The EndThe End