Chapter published in:Narrative Absorption
Edited by Frank Hakemulder, Moniek M. Kuijpers, Ed S. Tan, Katalin Bálint and Miruna M. Doicaru
[Linguistic Approaches to Literature 27] 2017
► pp. 97–118
Chapter 5Into film
Does absorption in a movie’s story world pose a paradox?
Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
Keywords: absorption, transportation, presence, consciousness, attention, narrative, film technology, continuity, visual narrative grammar
- 1.The problem: Dual awareness
- 2.Consciousness and the experience of film stories
- 2.1Consciousness and the unitary experience
- 2.2Degrees of consciousness and dual awareness
- 3.Why narrative structure escapes consciousness
- 4.Why story world events occupy consciousness
- 4.1Interesting events
- 4.2Development of anticipations
- 5.How unseen film technology enhances story world experiences
- 6.A solution: Unitary experience in absorbed film viewing
- 7.Absorption is a supervised staging of the story world
Published online: 09 November 2017
Augustin, D., & Leder, H.
Bálint, K., & Tan, E. S. H.
Bezdek, M. A., Gerrig, R. J., Wenzel, W. G., Shin, J., Revill, K. P., & Schumacher, E. H.
(1985) Widescreen aesthetics and mise en scene criticism. The Velvet Light Trap, 21, 18. Retrieved from https://search.proquest.com/docview/1306637438?accountid=160283
Bordwell, D., Staiger, J., & Thompson, K.
Carroll, N., & Seeley, W. P.
Cohn, N., Paczynski, M., Jackendoff, R., Holcomb, P. J., & Kuperberg, G. R.
Cutting, J. E.
de Gardelle, V., & Kouider, S.
Dehaene, S. Changeux, J. -P., Naccache, L., Sackur, J. & Sergent, C.
Doicaru, M. M.
Garsoffky, B., Schwan, S., & Huff, M.
Green, M. C., & Donahue, J. K.
Hasson, U., Nir, Y., Levy, I., Fuhrmann, G., & Malach, R.
Hinde, S. J.
Itti, L., & Koch, C.
Jiang, Y., Costello, P., Fang, F., Huang, M., & He, S.
Kuijpers, M. M., Hakemulder, F., Tan, E. S. H. & Doicaru, M. M.
Lambie, J. A., & Marcel, A. J.
Lamme, V. A.
Lewinski, P., Fransen, M. L., & Tan, E. S.
Loschky, L. C., Larson, A. M., Magliano, J. P., & Smith, T. J.
Magliano, J. P., Dijkstra, K., & Zwaan, R. A.
Mar, R. A., & Oatley, K.
McGovern, K., & Baars, B. J.
Michotte van den Berck, A.
(1948) Le caractère de ‘réalité’ des projections cinématographiques. Revue Internationale de Filmologie, 1, 249–261. [Translation by A. P. Costall, as The character of ‘reality’ of cinematographic projections. In G. Thines, Costall, A. P., & Butterworth, G (Eds.) 1991, Michotte’s experimental phenomenology of perception (pp. 197–207). Hillsdale, NJ: Lawarence Erlbaum Associates].
Niedenthal, P. M., Barsalou, L. W., Winkielman, P., Krauth-Gruber, S., & Ric, F.
Posner, M. I.
Raz, G., Jacob, Y., Gonen, T., Winetraub, Y., Flash, T., Soreq, E., & Hendler, T.
Schank, R. C.
Schwann, S., Garsoffky, B., & Hesse, F. W.
Smith, T. J., & Henderson, J. M.
Smith, T. J., Levin, D. T. & Cutting, J.
Suckfüll, M., & Scharkow, M.
Tan, E. S. H.
Visch, V., & Tan, E. S. H.
Visch, V. T., Tan, E. S. H., & Saakes, D. P.
Winston, A., & Cupchik, G.
Zacks, J. M.
Cited by 3 other publications
Polvinen, Merja, Howard Sklar & Anezka Kuzmicova
Tan, Eduard Sioe-Hao & Valentijn Visch
This list is based on CrossRef data as of 31 march 2022. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.