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EMOTIONS THROUGH MOVIES Ryan : comedy movies Damian: dramatic movies Jonah: Horror movies Gabrielle: Romantic movies

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Movies and emotions: Movies are known since the Lumieres’ brother in 1895 invented the cinematograph.The first movie: ‘The arrival of the train’ (1896) by the Lumieres brothers. Movies= Moving pictures which creates the illusion of the reality, the audio-visual projection of another world The only way to ‘see’ a representation of the past, the future and an idealistic or imaginary present. D.W.Griffith ‘We can never really know the past but continually play with’. Movie can be an escape to the reality J.L Baudry ‘a historical one where the development of optics and the technology of mechanical reproduction produce the cinema as a specific visual organization of the subject, and an ontogenetic one, where the cinema imitates the very structure of the human psyche and the formation of the ego’. Emotion experienced in movies are both universal and social-constructed

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The studies and theories: Cinema and emotions, the relations the spectator has with the movie spectator ship’ and the brain process are studied from its beginning since it has such a direct, instant and intense impact on people’s brain Apparatus theory of J.L Baudry, film theorist: 197Os, cinema is ideological indeed the process to make a movie are ideological. ‘cinema as an institution confines the spectator in an illusory identity, by a play of self-image’. Identification is a main idea Recent Jan Eder, German audio-visual researcher, 4 levels in watching a movie: The direct perception of sound and image which stimulates a perceptual effect, then moral and non-moral criteria as well as memory are activated to create individual reaction and attractiveness or rejection, suspense, sympathy or empathy. Finally thematic emotions are activated which involves social norms or individual values.

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ROMANTIC MOVIES: An unreal relationship Gabrielle

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Love would be a biological emotion but it is also personal. Romantic relationship is a recurrent theme in movies: it is a vast genre A basic structure: search of love, finding of love, separation, reunion followed by an happy or dramatic ending. The is the projection an IDEAL LOVE, which tries to replicate the real world by play with this reality. The film structure, the cognitive process and the emotional response People experienced multiple emotions by watching a romantic movie: happyness, love, melancholy, sadness… emotions related to memories and souvenirs

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The impact of romantic movies on the brain The brain is extremely active. The use of the right hemisphere: The visual area Memory area Emotion area Against gender stereotypes: Everybody has emphatic capabilities, it is proved though that women will tend to use it way more than man The gender difference between ‘girly movie’ and ‘manly movie’ is not ‘romantic movie’ vs ‘actions movies’ It is in the indentification process: if the main caracter or even the director is a girl, gtils will be more incline to understand it. And the contrary works.

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Casablanca MICHEL CURTIZ (1886-1962) Peter Lorre Signor Ugarte Ingrid Bergman Humphred Bogart Ilsa Lund Rick Blaine Paul Henreid Victor Laszlo Claude Rains Captain Louis Renault Conrad Veidt Major Heinrich Strasser American classis movie 1942 Won 3 Oscars https://www.youtube.com/watch?v=Yt1vQ81jNWw https://www.youtube.com/watch?v=kc02Y4xHWys THE ICONIC CHARACTERS

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The main emotions of the movie DISTRESS: melancholy, depression,sadness,LOVE and ANGER The movie calls for emotional memories The identification process is stimulated by the narrative, at the time but also today : An impossible love between Ilsa and Frank because of the war and Victor, Ilsa husban (memory for the time but nowaday imagination since it shows a historical past we will never know in reality), The movie was made to push the United States in participating to the Second World War. What explains that 70 years later it is still a classic?

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CASABLANCA: the Cliche movie Max Steiner (1888- 1971) Political idea: To put love aside for the cause: The involvement in the war The Music: La Marseillaise, Gone with the wind intense, smooth and melancholic atmosphere. Also patriotism Black and white The audience focus on the characteres The facial expressions The actions, use of object Language:‘Here ’s looking at you kid’

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The eyes, and facials expressions

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Silent movie: Seventh Heaven American movie made in 1927 An Iconic couple: Janet Gaynor and Charles Farell black and white+no sound+only music= facials expressions reinforced, less realistic image (use creativity and imagination to connect with the movie), a more simple narration and emotions Borzage ‘I like to penetrate the heart and soul of my actors and let them live their caracters’ Frank Borzage (1894-1962) He wanted to ‘make the audience sentimental instead of the player. Make the audience act’ Idea that the director influences (instead of manipulates) the emotions of the spectator because he is the one who ‘plays’ with the illusory and makes it own reality.

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Evolution of romantic movies: The cultural and historical impact. Technical evolutions: more realism: images are faster (from 16or18 images per secondes now 24), coloured (1936) and talking (1925). Countries have their own way to deal romantic movies: Happy ending culture: Love is stronger than your duty in the society. The importance of LOVE as an emotion is different The use of the body (kiss, nudity, sexual scenes…) is not moraly acceptable the same way everywhere at everytime: In India, kisses in movies were not allowed until the 1990s. When the first kiss ‘The May Irwin Kiss’ was represented on screen in 1896 it was seen as ‘disgusting’. The inditification process is socially-constructed Over the time in western countries differents movements in cinema appeared influenced by the political, economic and social situation (expressionism in Germany after the IIWW because the economy is bad and movies cannot compete with the big american productions: use of symbolism. Or Italian Neoralism of the war which can be seen as documentaries. Ex: La Strada (1954) r La Dolce Vita (1960)o f Frederico Fellini. Or the theme of Rebel without a cause (Nicholas Ray 1955) with the iconic James Dean and Nathalie Wood. With time Love stories are becoming more complex or simply more ‘realistic’ and shows more complexe relationships in respons to the expectation of the spectator: A street car named desire (Elia Kazan, 1951) with Marlon Brando and Vivian Leigh, The cat on a hot tin roof(Richard Brooks,1958) with Elisabeth Taylor and Paul Newman; The Beauty ideals are also changing.

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Passion and Tenderness The May Irwin Kiss (William Heiss, 1896) https://www.youtube.com/watch?v=zURTEs8C1lo

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HISTORICAL AND POLITICAL IMPACT LE QUAI DES BRUMES Port of Shadows French movie made in 1938 by Marcel Carne Diologues and story written Jacques Prevert and Pierre Dumarchais ‘t’as d’beaux yeux tu sais?’ (‘You’ve got beautiful eyes you know?’ The iconic Jean Gabin with his old parisien accent and Michel Morgan with her big eyes. The love is itensified by the connection of the eyes https://www.youtube.com/watch?v=snY3L7RYOOs Censure of the Vichy regime because it shows the desillusion of an army desartor. Except the movie was supposed to be shown in a war time: DANGEROUS. It was shown anyway and well received as it answered to the real and general desillusion of the French population. ‘No one consider the barometer responsible for the storm and the function of the artist is to be the barometer of the time.’ Marcel Carne (1906-1993)