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This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically, this marks a return to early interest in the effect of film on the audience by psychoanalysts and psychologists, which was overtaken by concern with the 'effects' of film, linked to calls for censorship and moral panics rather than to understanding the mental and behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits, while traditional 'box office' studies, which treated the audience initially as a homogeneous market, have been replaced by the study of individual consumers and their motivations. Latterly, there has been a marked turn towards more sophisticated economic and sociological analysis of attendance data. And as the film experience fragments across multiple formats, the perceptual and cognitive experience of the individual viewer (who is also an auditor) has become increasingly accessible. With contributions from Gregory Waller, John Sedgwick and Martin Barker, this work spans the spectrum of contemporary audience studies, revealing work being done on local, non-theatrical and live digital transmission audiences, and on the relative attraction of large-scale, domestic and mobile platforms.

Motion picture audiences.

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Standard Hollywood narrative movies prescribe linear narratives that cue the viewer to expect predictable outcomes and adopt a closed state of mind. There are, however, a small number of movies that, through the presentation of alternate narrative paths, open the mind to thoughts of choice and possibility. Through the study of several key movies for which this concept is central, such as Sliding Doors, Run Lola Run, Inglourious Basterds, and Rashomon, Nitzan Ben Shaul examines the causes and implications of optional thinking and how these movies allow for more open and creative possibilities.

Motion pictures --- Motion picture audiences --- Philosophy. --- Psychology. --- Psychological aspects.

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"Through analyses of various mediums, this volume explores how the horror genre affects the mind and body of the spectator. By examining how these diverse media generate medium-specific corporeal and sensory responses, it reveals how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception"--

Horror films --- Horror television programs --- Motion picture audiences. --- History and criticism. --- History and criticism.

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Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that, "Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways. Why? What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?" In this extended essay, or letter, Manchevski ruminates the different ways in which both filmmakers and audiences create, experience, and absorb the cinematic narrative with a certain trust and faith in the artwork to render, not the factual truth, per se, but the importantly shared experience of trusting "the plane of reality created by the work itself," such that "we trust its inner logic and integrity, we have faith in what happens while we give ourselves to this work of art." Truth becomes a question of what artist and audience can see and feel together: what feels real becomes the world we inhabit. The book also includes an Afterword, "Truth Approaches, Reality Affects," by internationally renowned film scholar Adrian Martin.

Motion pictures --- Motion picture audiences. --- Production and direction. --- Philosophy. --- aesthetics --- Macedonia --- film studies --- cinema vérité

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Das Publikum nimmt Filme nicht nur mit Augen und Ohren wahr – es imaginiert sie auch. Film bedeutet daher immer auch: »Kino im Kopf«. Das gilt vor allem dann, wenn uns Filme auf anspielungsreiche Weise etwas vorenthalten: Dann werden wir als Zuschauer dazu eingeladen, herausgefordert, uns das Ausgesparte sinnlich vorzustellen. Die Filmwissenschaft hat Fragen zur Imagination des Zuschauers lange Zeit eher stiefmütterlich behandelt. Dieser Band setzt sich nun erstmals im deutschsprachigen Raum systematisch mit dem vertrackten Zusammenspiel von Film und Zuschauerimagination auseinander. Die Autoren klären begriffliche Fragen, diskutieren ästhetische Mittel wie Ellipse oder Filmmusik, gehen der Imagination im Dokumentarfilm und im Stummfilmkino nach und verfolgen die Zuschauerimagination über die medialen Grenzen des Films hinaus.

Fantasy films --- Imagination in motion pictures --- Motion pictures --- Motion picture audiences