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174 Film Research Paper Topics To Inspire Your Writing

Also known as a moving picture or movie, the film uses moving images to communicate or convey everything from feelings and ideas to atmosphere and experiences. The making of movies, as well as the art form, is known as cinematography (or cinema, in short). The film is considered a work of art. The first motion pictures were created in the late 1880s and were shown to only one person at a time using peep show devices. By 1985, movies were being projected on large screens for large audiences.

Film has a rich and interesting history, as well as a bright future given the current technological advancements. This is why many professors will really appreciate it if you write a research paper on movies. However, to write a great paper, you need a great topic.

In this blog post, we will give you our latest list of 174 film research paper topics. They should be excellent for 2023 and should get you some bonus points for originality and creativity. As always, our topics are 100% free to use as you see fit. You can reword them in any way you like and you are not required to give us any credit.

Writing Good Film Research Paper

Before we get to the film topics for research papers in our list, you need to learn how you can write the best possible film research paper. It’s not overly complicated, don’t worry. Here are some pointers to get you started:

Start as early as possible Start your project with an outline that will keep you focused on what’s important Spend some time to find a great topic (or just use one of ours) Research every angle of the topic Spend some time composing the thesis statement Always use information from reliable sources Make sure you cite and reference properly Edit and proofread your work to make it perfect. Alternatively, you can rely on our editors and proofreaders to help you with this.

Now it’s time to pick your topic. We’ve made things easy for you, so all you have to do is go through our neatly organized list and select the topic you like the most. If you already know something about the topic, writing the paper shouldn’t take you more than 1 or 2 days, however if you have no desire to spend a lot of time on your assignment, thesis writing help from our professionals is on its way. Pick your topic now:

Easy Film Research Topics

We know most students are not too happy about spending days working on their research papers. This is why we have compiled a list of easy film research topics just for our readers:

What was the Electrotachyscope?
Research the history of film
Describe the first films ever made
Talk about the Kinetoscope
Who were Auguste and Louis Lumière?
An in-depth look at film during World War I
Talk about the evolution of sound in motion pictures
Most popular movie actors of all time
The life and works of Charles Chaplin
The life and works of Sergei Mikhailovich Eisenstein
Discuss the Mutoscope device
Talk about the introduction of natural color in films

Film Topics To Write About In High School

If you are a high school student, you probably want some topics that are not overly complicated. Well, the good news is that we have plenty of film topics to write about in high school. Check them out below:

An in-depth analysis of sound film
Research the shooting of Le Voyage dans la Lune
Talk about the Technicolor process
Research the film industry in India
The growing popularity of television
Discuss the most important aspects of film theory
The drawbacks of silent movies
Cameras used in 1950s movies
The most important cinema movie of the 1900s
Research the montage of movies in the 1970s
The inception of film criticism
Discuss the film industry in the United States

Interesting Film Paper Topics

Are you looking for the most interesting film paper topics so that you can impress your professor and your fellow students? We are happy to say that you have arrived at just the right place. Here are our latest ideas:

Are digital movies much different from films?
Research the evolution of cinematography
Research the role of movies in Indian culture
The principles of a cinema camera
Technological advancements in the film industry
The use of augmented reality in movies
Talk about the role of film in American culture
An in-depth look at the production cycle of a film
The role of the filming crew on the set
Latest cameras for cinematography
An in-depth look at the distribution of films
How are animated movies made?

Controversial Movie Topics

Why would you be afraid to write your paper on a controversial topic? Perhaps you didn’t know that most professors really appreciate the effort and the innovative ideas. Below, you can find a whole list of controversial movie topics for students:

An in-depth look at Cannibal Holocaust
Controversies behind Fifty Shades of Gray
A Clockwork Orange: the banned movie
All Quiet on the Western Front: a controversial war movie
Discuss The Texas Chain Saw Massacre movie
Apocalypse Now: one of the most banned movies
Brokeback Mountain and the controversies surrounding it
Talk about The Last Temptation of Christ
The Birth of a Nation: the movie that was banned in America

Movie Topics Ideas For College

As you probably know already, college students should choose topics that are a bit more complex than those picked by high school students. The good news is that we have compiled a list of the best movie topics ideas for college students below:

Methods to bring your sketches to life
Discuss problems with documentary filming
War movies and their impact on society
What does a director actually do on the set?
Talk about state-sanctioned movies in China
Research cinematography in North Korea
Talk about psychological reactions to films
Research the good versus evil theme
African Americans in the 1900s cinematography in the US
Discuss the creation of sound for films

Hottest Film Topics To Date

Our writers and editors did their best to compile a list of the hottest film topics to date. You can safely pick any of the topics below and write your essay or research paper on it. You should be able to find plenty of information online about each and every topic:

The life and works of Alfred Hitchcock
Talk about racial discrimination in war movies
The psychology behind vampire movies
The life and works of Samuel L. Jackson
Classic opera versus modern movie soundtracks
Hollywood versus Bollywood
The life and works of tom Hanks
Research the Frankenstein character
Major contributions by women in cinematography
The life and works of Harrison Ford
The 3 most popular topics for a moving picture

Good Movie Topics For 2023

We know, you probably want some topics that relevant today. You want to talk about something new and exciting. Well, we’ve got a surprise for you. This list of good movie topics for 2023 has just been added to the blog post, and you can use it for free:

The life and works of Will Smith
Why do people love movie monsters?
Talk about the popularity of fan movies
The life and works of Morgan Freeman
Gender inequality in UK films
Research movies that were produced because of video games
The life and works of Anthony Hopkins
The importance of the Golden Raspberry Award
Outer space: the future of cinematography
Compare today’s filming techniques to those in the 1950s
The importance of winning a Golden Globe Award

Fascinating Film Topics

Are you looking for some of the most fascinating film topics one can ever find online? Our experts have outdone themselves this time. Check out our list of ideas below and choose the topic you like the most:

Talk about the development of Star Wars
Talk about spaghetti western movies
Discuss the filming of Pride and Prejudice
Research fantasy films
The most popular movie genre in 2023
What makes a movie a blockbuster?
Filming for the Interstellar movie
Peculiarities of Bollywood cinema
Talk about the era of Hitchcock
Discuss the role of motion pictures in society
Talk about Neo-realism in Italian movies
Research the filming of A Fistful of Dollars

The History Of Film Topics

Writing about the history of film and cinematography can be a good way to earn some bonus points from your professor. However, it’s not an easy thing to do. Fortunately, we have a list of the history of film topics right here for you, so you don’t have to waste any time searching:

Research the first ever motion picture
Discuss the idea behind moving images
Research the Pioneer Era
Talk about the introduction of sound in movies
Talk about the Silent Era
Who created the first ever movie?
Discuss the Golden Era of cinematography
The era of changes in 2023
The rise of Hollywood cinematography
Discuss the first color movie
Research the first horror movie
Discuss the phrase “No one person invented cinema”

Famous Cinematographers Topics

You can, of course, write your next research paper on the life and works of a famous or popular cinematographer. You have plenty to choose from. However, we’ve already selected the best famous cinematographers topics for you right here:

The life and works of Sir Roger Deakins
Research the cinematographer Vittorio Storaro
An in-depth look at Bill Pope
Research the cinematographer Gordon Willis
The life and works of Wally Pfister
An in-depth look at Robert Burks
Research the cinematographer Stanley Cortez
The life and works of Conrad Hall
An in-depth look at Rodrigo Prieto
The life and works of Claudio Miranda
Emmanuel Lubezki
An in-depth look at Jack Cardiff
Research the cinematographer Michael Ballhaus
The life and works of Kazuo Miyagawa

Famous Films Topic Ideas

The easiest and fastest way to write an essay or research paper about movies is to write about a famous movie. Take a look at these famous films topic ideas and start writing your paper today:

Research A Space Odyssey
Research the movie Seven Samurai
Cinematography techniques in There Will Be Blood
Discuss the film The Godfather
An in-depth look at La Dolce Vita
Research the movie Citizen Kane
Cinematography techniques in Goodfellas
An in-depth look at the Aliens series
Cinematography techniques in Singin’ in the Rain
Research the movie Mulholland Drive
An in-depth look at In The Mood For Love
Research the movie City Lights

The Future Of Movies Topic Ideas

Did you ever wonder what the movies of the future will look like? We can guarantee that your professor has thought about it. Surprise him by writing your paper on one of these the future of movies topic ideas:

The future of digital films
Discuss animation techniques of the future
The future of cinematography cameras
How do you view the actors of the future?
Will digital releases eliminate the need for DVDs?
The role of streaming services in the future
Talk about the direct-to-consumer distribution concept
Is cinematography a good career for the future?
Will movie theaters disappear?
Virtual reality in future films
The rise of Pixar Studios

Awesome Cinema Topic Ideas

Our experts have just finished completing this section of the topics list. Here, you will find some of the most awesome cinema topic ideas. These should all work great in 2023, so give them a try today:

The concept of the Road Movie
Review the film “Donnie Brasco”
The popularity of musical movies
A comprehensive history of cinematography
Discuss the A Beautiful Mind movie
Compare watching movies now and in the 1990s
Talk about film narrative
The importance of the main characters in a movie
The process of selecting the right actor for the role
Well-known produces in the United States
The most popular actors in 2023
Research Nazi propaganda films

Simple Cinema Essay Ideas

If you want to write about cinematography but don’t want to spend too much time researching the topic, you could always choose one of our simple cinema essay ideas. New ideas are added to this list periodically:

Discuss the concept of limited animation
War movies during World War II
The importance of James Bond for Americans
What is docufiction?
The traits of a filmophile
The success of early crime movies
An in-depth look at Hanna-Barbera
The transition from VHS tape to DVD
Best comedy movies ever made
Discuss the Film Noir genre
What is a Blaxploitation?
The best samurai film ever produced

Movies And The Internet Topics

How does piracy affect the movie industry?
An in-depth look at Netflix
Research the top 3 movie streaming websites
Compare and contrast Netflix and Amazon Prime
Should movies be shared for free online?
The effects of online streaming on piracy
Is pirating movies illegal everywhere?
Illegal downloads of movies in North Korea
Piracy: a form of film preservation
The most pirated movies of the 21st century
Research the best ways to stop film piracy
The economic impact of movie piracy in the United States

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A psychology of the film

Ed S. Tan 1 , 2

Palgrave Communications volume 4 , Article number: 82 ( 2018 ) Cite this article

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Cultural and media studies

The cinema as a cultural institution has been studied by academic researchers in the arts and humanities. At present, cultural media studies are the home to the aesthetics and critical analysis of film, film history and other branches of film scholarship. Probably less known to most is that research psychologists working in social and life science labs have also contributed to the study of the medium. They have examined the particular experience that motion pictures provide to the film audience and the mechanisms that explain the perception and comprehension of film, and how movies move viewers and to what effects. This article reviews achievements in psychological research of the film since its earliest beginnings in the 1910s. A leading issue in the research has been whether understanding films is a bottom-up process, or a top-down one. A bottom-up explanation likens film-viewing to highly automated detection of stimulus features physically given in the supply of images; a top-down one to the construction of scenes from very incomplete information using mental schemata. Early film psychologists tried to pinpoint critical features of simple visual stimuli responsible for the perception of smooth movement. The riddle of apparent motion has not yet been solved up to now. Gestalt psychologists were the first to point at the role of mental structures in seeing smooth movement, using simple visual forms and displays. Bottom-up and top-down approaches to the comprehension of film fought for priority from the 60s onwards and became integrated at the end of the century. Gibson’s concept of direct perception led to the identification of low-level film-stylistic cues that are used in mainstream film production, and support film viewers in highly automated seamless perception of film scenes. Hochberg’s argument for the indispensability of mental schemata, too, accounted for the smooth cognitive construction of portrayed action and scenes. Since the 90s, cognitive analyses of narration in film by film scholars from the humanities have revolutionised accounts of the comprehension of movies. They informed computational content analyses that link low-level film features with meaningful units of film-story-telling. After a century of research, some perceptual and cognitive mechanisms that support our interaction with events in the real world have been uncovered. Today, the film experience at large has reappeared on the agenda. An integration of top-down and bottom-up mechanisms is sought in explaining the remarkable intensity of the film experience. Advances are now being made in grasping what it is like to enjoy movies, by describing the absorbing and moving qualities of the experience. As an example, a current account of film viewers' emotional experience is presented. Further advances in our understanding of the film experience and its underlying mechanisms can be expected if film psychologists team up with cognitive film studies, computer vision and the neurosciences. This collaboration is also expected to allow for research into mainstream and other genres as forms of art.

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An agenda for the psychology of the film

At the time of the first kinetoscope and cinema exhibitions in 1894–1895, thanks to devices such as the Phenakistoscope, Zoetrope and Praxinoscope, moving images had been popular for decades. Just before that time, academic psychology turned to the identification of the mechanisms underlying the functioning of the mind. Perception psychologists began to study apparent movement of experimental visual stimuli under controlled conditions because they found moving stimuli interesting cases in human perception, or as part of the study of psychological aesthetics founded by Gustav Fechner and Wilhelm Wundt. The publication of The Photoplay: A Psychological Study marked the beginning of the psychology of the film. Hugo Münsterberg was trained by Wundt and recruited by William James to lead the experimental psychology lab at Harvard. Importantly, Münsterberg was also an avid cinemagoer as his analyses of theatrical films of his time may tell, and a professing cinephile at that. Münsterberg set two tasks for the study of the film: one was to describe the functioning of psychological mechanisms in the reception of film; the other to give an account of film as an artistic medium.

Münsterberg shared his contemporaries’ and even today’s spectators’ fascination for the wonder of moving images and their apparent reality. He described the film experience as a 'unique inner experience' that due to the simultaneous character of reality and pictorial representation “brings our mind into a peculiar complex state” (p. 24).

In the first part of The Photoplay , explores how film characteristically addresses the mechanisms of the basic psychological functions investigated by experimental psychology—namely perception, attention, memory and emotion. Footnote 1 In The Photoplay the imagination is the psychological faculty that theatrical movies ultimately play upon; attention, perception, memory and emotion are also directed by the film, but contribute to the film experience as building blocks for the imagination in the first place. One of the ways that films entertain the imagination is by mimicking the psychological functions. Film scenes may represent as-if perceptions, as-if thoughts, as-if streams of associations, and as-if emotions or more generally: display subjectivity. Footnote 2 Second, the film creates an imagined world that deviates from real world scenes as we perceive these in real life. Liberated from real life perceptual constraints involves the spectator’s self in 'shaping reality by the demands of our soul' (p. 41). Third, Münsterberg has a nuanced view of the automaticity of responses to film. On the one hand, it is the spectator’s choice—based on their interest—which ideas from memory and the imagination to fit to images presented on screen; they are felt as 'our subjective supplements' (p. 46). On the other, the film’s suggestions function to control associated ideas, '… not felt as our creation but as something to which we have to submit' (p. 46). And yet in Münsterberg’s view the film does not dictate psychological responses in any way. Footnote 3

Finally, The Photoplay provides abundant and compelling introspective reports of the film experience and so probes into the phenomenology of film, that is, what it is like to watch a movie. I think it is fair to say that for Münsterberg the film experience is the ultimate explanandum for a psychology of the film. In order to account for that phenomenology by mechanism of the mind proper descriptions of the film experience are needed, and introspective reports are an indispensable starting point for these.

The other task Münsterberg set himself was to propose an account of the film as a form of art. Part two of The Photoplay proposes that the film experience includes an awareness of unreality of perceived scenes. This awareness is taken as fundamental for psychological aesthetics; all forms of art are perceived to go beyond the mere imitation of nature. Footnote 4 Münsterberg showed himself a formalist in that he theorised that aesthetic satisfaction depends not on recognition of similarity with the real world or practical needs, but on the sense of an 'inner agreement and harmony [of the film’s parts]' (p. 73). Footnote 5 But in order to qualify as art, according to Münsterberg film was not to deviate too much from realistic representation that distinguishes theatrical movies from non-mainstream forms.

Münsterberg’s agenda is in retrospect quite complete. The detailed investigation of psychological mechanisms and aesthetics of film is followed by a last chapter on the social functions of the photoplay. The thoughts forwarded in it are more global than those on perception and aesthetics. The immediate effect of theatrical films on their audience is enjoyment due to their freeing the imagination, and their easy accessibility to consciousness 'which no other art can furnish us' (p. 95). Enjoyment comes with additional gratifications such as a feeling of vitality, experiencing emotions, learning and above all aesthetic emotion.

In a final section behavioral effects of successful films are discussed. Here the film psychologist vents concerns on what we now refer to as undesirable attitude changes and social learning, especially in young audiences. The agenda of today's social science research on mass media effects (e.g. Dill, 2013 ) is not all that different from Münsterberg's in the last chapter of The Photoplay.

The two tasks that Münsterberg worked on set the agenda for the psychology of film in the century after The Photoplay . It is clearly recognisable in the psychology of the film as we know it today. Footnote 6 But the promising debut made in 1916 was not followed up until the nineteen seventies, or so it seems. James Gibson lamented in his last book on visual perception that whereas the technology of the cinema had reached peak levels of applied science, its psychology had so far not developed at all (1979, p. 292). The cognitive revolution in psychology of the 60s paved the way for its upsurge in the early 80s. But some qualifications need to be made on the seeming moratorium. First, Rudolf Arnheim developed since the 1920s a psychology of artistic film form. Second, although not visible as a coherent psychology of the film, laboratory research on issues in visual perception of the moving image—in particular studies of apparent movement—continued.

Gestalt psychology and film form

Rudolf Arnheim’s essays published first in 1932 added analytic force to Münsterberg’s conviction that film is not an imitation of life. Film and Reality ( 1957 ) highlights shortcomings of film in representing scenes as we know them from natural perception. Footnote 7 In the same essay, it is pointed out that comparing a filmic representation of a scene with its natural perception is what analytic philosophers would call an error of category. In The Making of Film ( 1957 ) Arnheim presented an inventory of formative means for artistic manipulations of visual scenes, including delimitation and point of view, distance to objects and mobility of framing. It is argued that chosen manipulations often go against the most realistic options. For example, ideal viewpoints and canonical distances are often dismissed in favour of more revealing options. Footnote 8 Arnheim’s aesthetics of film gravitates towards acknowledged artistic productions more than to the 'naturalistic narrative film' (e.g., 1957 , p. 116–117) the more moderate art form that Münsterberg tended to prefer.

Arnheim was informed by such founders of Gestalt psychology as Wertheimer, Köhler and Koffka. This school held that natural perception results from the mind’s activity. It organises sensory inputs into patterns according to formal principles such as simplicity, regularity, order and symmetry. Arnheim developed into the leading Gestalt theorist of aesthetics of the 20th century. In his 1974 book he analysed a great number of pictorial, sculptural, architectural, musical and poetic works of art while only rarely referring to film. Footnote 9 The cornerstone aesthetic property of art works including film is expression, defined by Arnheim as 'modes of organic or inorganic behaviour displayed in the dynamic appearance of perceptual objects or events' ( 1974 , p. 445). Expression’s dynamic appearance is a structural creation of the mind imposing itself on sound, touch, muscular sensations and vision. Expressive qualities are in turn, the building blocks of symbolic meaning that art works including film add to the representation of objects and events as we know them in the outer world. Thus, Arnheim’s theory of expression and meaning in the arts seems to echo Münsterberg’s formalist position on the perception of 'inner harmony' as the determinant of film spectators’ aesthetic satisfaction.

Apparent motion

Münsterberg shared the amazement that moving images awakened in early film audiences. He considered the experience of movement a central issue for the psychology of the film. The experience of movement in response to a series of changing still pictures has been studied in psychology and physiology under the rubric of apparent motion . Footnote 10 In Münsterberg’s days, international psychology labs were probing the perception of movement in response to experimental stimuli that were perceived as moving images. Well-known examples include apparent motion induced by the subsequent views of single stationary lines in different positions that result in phi movement , the perception of one moving shape or line. Researchers in this area have continued to study the perception of movement in film as only one of many interesting visual stimuli, such as shapes painted on rotating disks, or dynamic computer-generated lights, shapes and objects of many kinds. Why and how we see motion has been as basic to the study of visual perception as questions of perception of colour, depth, and shape. Helmholtz proposed that what we need to explain is how retinal images that correspond one-to one, i.e., optically with a scene in the world are transformed into mental images, or percepts that we experience. In the case of apparent motion, we also need to understand how a succession of retinal images are perceived as one or more objects in motion Footnote 11 Apparent motion in film viewing needs to be smooth, Footnote 12 and depends on frame rates and masking effects. (The latter effects refer to dampening of the visual impact of one frame by a subsequently presented black frame).

Münsterberg’s conviction that the perception of movement needs a cognitive contribution from the viewer clashes with alternative explanations that rely on prewired visual mechanisms that automatically and immediately pick up the right stimulus features causing an immediate perception of motion, without the mind adding anything substantial. The inventors of nineteenth century moving image devices explained the illusion of movement by the slowness of the eye, possibly following P.M. Roget’s report on apparent motion to the Royal Society in 1824. In the early years of cinema, the persistence of vision account was meant to add precision to this explanation. It proposed that the retina, the optic nerve or the brain could not keep up with a rapid succession of projected frames, and that afterimages would bridge the intervals between subsequent frames. Anderson and Fisher ( 1978 ) and Anderson and Anderson ( 1993 ) have argued why the notion is false and misleading. It suggests that film viewers’ perceptual system sluggishly pile up retina images on top of one another. However, this would lead them to blur which obviously is not the case. The Andersons refer to the explanation as a myth because it is based on a mistaken conception of film viewing as a passive process. Even with the characteristically very small changes between subsequent frames characteristic of motion picture projection, the visual system performs an active integrative role in distinguishing what has changed from one image to another. This integrating mechanism in film viewing is exactly the same as in perceiving motion in real world scenes. Mechanistic explanations have since been founded on growing insights in the neuroscience of vision, such as single cell activity recordings in response to precisely localised stimulus features. Footnote 13 'Preprocessing' of visual input before it arrives in the cortex takes place in the retina and the lateral geniculate nucleus, which have specialised cells or trajectories for apprehending various aspects of motion. There are major interactions between perceptual modules. Footnote 14 Physiological and anatomical findings in the primate visual system, as well as clinical evidence, support the distinction of separate channels for the perception of movement on the one hand, and form, colour and depth on the other (Livingstone and Hubel, 1987 ). Research on how exactly the cortical integration systems for vision are organised has not yet come to a close. A variety of anatomical subsystems have been identified Footnote 15 , and there is room for task variables in the explanation of motion perception. Footnote 16 The operation of task variables in presumably automated processes (e.g., attentional set, induced by specific task instructions) complicates accounts of apparent motion and the perception of movement based on lowest processing levels.

Non-trivial and clear-cut contributions of the mind to smooth apparent motion have been proposed by Gestalt psychologists. Arnheim ( 1974 ) considered the perception of movement as subsidiary to that of change. The mind uses Gestalt principles such as good continuation and object consistency to perceive patterns in ongoing stimuli. Movement is the perception of developing sequences and events. Footnote 17 Gestalt psychologists have attempted to identify stimulus features that are perceived as a spatiotemporal pattern of 'good' motion, and they discovered various types of apparent motion have been distinguished as a function of stimulus features. In an overview volume, Kolers ( 1972 ) presented phi and beta motion as the major variants. Phi , the most famous, was first documented by Wertheimer in 1912 . An image of an object is presented twice in succession in different positions. Footnote 18 Pure or beta motion that is objectless motion, was the novel and amazing observation; the perception seemed to be a sum or integration by the mind beyond the stimulus parts, and asked for an explanation. It is also experienced when the objects in the subsequent presentations are different.

Wertheimer and those after him looked for mechanisms of the mind that could complement the features of the stimulus responsible for apparent motion in its various forms. Footnote 19 Other studies of apparent motion, too, indicated that simple models of stimulus features alone could not explain apparent motion. Footnote 20 One of the best examples of what the cognitive system adds to stimulus features is induced motion (Duncker, 1929 ). When we see a small target being displaced relative to a framework surrounding it, we invariably see the target moving irrespective of whether it is the target or the frame that is displaced. Ubiquitous film examples are shots of moving vehicles, with mobile or static framing.

In this summary and incomplete overview of the field, we could not make a strict distinction between mechanist and cognitive explanations for the perception of movement in film. The current state of research does not allow for it. Footnote 21 Kolers’s conclusions on the state of the field closing his 1972 volume on motion perception seem still valid. He inferred from then extant research that there must be separate mechanisms for extracting information from the visual stimulus and for selecting and supplementing the information into a visual experience of smooth object motion or motion brief. He concluded that 'The impletions of apparent motion make it clear that although the visual apparatus may select from an array [of] features to which it responds, the features themselves do not create the visual experience. Rather, that experience is generated from within, by means of supplementative mechanisms whose rules are accomodative and rationalizing rather than analytical' (p.198). But even if after Koler's analysis some perceptual (Cutting, 1986) or brain mechanisms (Zacks, 2015) have been identified today we still do not know enough about the self-supplied supplementations. Footnote 22

Perception and cognition of scenes

Mental representation and event comprehension.

Contributions of the mind can go considerably beyond apparent motion, i.e., the perception of smooth motion from one frame to another. The cognitive revolution in academic psychology that took off in the 1960s broadened the conceptualisation of contributions of the mind to the film experience beyond the narrower stimulus-response paradigms that had dominated psychological science until the 1960s. The cognitive revolution went beyond Gestalt notions of patterns applied by the mind on stimulus information. It introduced the concept of mental representation as a key to understanding the relation between sensory impressions from the environment on the one hand, and people’s responses to it. Moreover, these cognitive structures were seen functional in mental operations such as retrieval and accommodation of schemas from memory, inference and attribution. These were quite complex in comparison to perceptual and psychophysical responses. In the past 30 years, they have come to encompass event, action, person, cultural, narrative and formal-stylistic schemas. The cognitive turn in film psychology has stimulated a growing exchange with humanist film scholarship, resulting in advances in the elaboration of cognitive structural notions. Early applications of the cognitive perspective in the psychology of the film can be found in the 1940s and 50s in work by Albert Michotte ( 1946 ) and Heider and Simmel. Footnote 23

Against mental representation: direct perception of film events

The psychology of the film as a subdiscipline of academic psychology really took off in the late 1970s. Münsterberg’s broad agenda that had been scattered across isolated studies of mainly movement perception regained general acclaim. This was due first to the booming supply and consumption of moving images through media television and computer-generated imagery since the 60s. Second, the cognitive turn in experimental psychology renewed an interest in perception and cognition as it occurs in natural ecologies. This is the backdrop against which James Gibson ( 1979 ) noted the virtual absence of a psychology of the moving image, motivating his chapter on the film experience. The chapter was important in that it applied his highly influential ecological principles of perception of real world scenes to perception in the cinema. Gibson’s general theory of visual perception (e.g., Gibson, 1979 ) hinges on the notion that the visual system has evolved to extract relevant information from the world in a direct fashion. A scene presents itself to the observer as an ambient optical array that immediately and physically reflects the structure of the real world. Changes and transitions in the flow of the optical array are due to natural causes such as alternations of lighting intensity of the scene, e.g., due to clouds, or movement of objects in the scene or of the observer. These variations in the optical flow enable the automatic pick-up of invariants. Example invariants are the change in size of portions in the array, and the density of texture in that portion when the observer gets closer to, or farther away from the object. Footnote 24 The changes in these parameters are linked with depth-information in a way that is constant across different scenes, observer speeds, lighting conditions, etc. Invariants enable the direct perception of the real world in the service of adaptive action. Disturbances of the optic flow can automatically be perceived as events. The events are categorised on the basis of the nature of the disturbances, e.g., as terrestrial, animate, or chemical events. Furthermore, the direct tuning of the perceptual senses to the structures of the environment enable an immediate perception of affordances , for example the slope of a hill causes the direct perception of 'climbability'.

The experience of motion pictures according to Gibson involves a dynamic optical flow exactly like the one an observer would have when being present at the filmed scene. Footnote 25 Film represents the world to the senses that are calibrated to that world. The field of view of the camera becomes the optic array to the viewer (Gibson, 1979 , p. 298). Perception of objects, movement, events and affordances is direct and realist, based as it is on the same invariants and affordances that the scene in the real world would offer. Deviations from these as emphasised by cognitivist film psychologists from Münsterberg through Arnheim to Hochberg as we will shortly see, are largely taken as non-representative exceptions.

A major affordance offered by conventional movies is empathy with characters. Empathy presupposes that we understand what happens to characters. Scenes present their actions, reactions and feelings. However, most scenes are not continuous. How do we understand scenes presented in pieces, and what are the limits to our understanding? Gibson’s reply to the question of how continuity is perceived in scenes that is, smooth movement and unitary events across cuts would be that the perceptual system extracts the same invariants from the two shots on either side of the cut. The elegant explanation again rests upon a presumed correspondence between perception of real world scenes and film scenes.

Gibson inspired important theorising on the film experience, notably by Anderson and Cutting that we will turn to shortly. Here we emphasise that his direct perception account of the film experience stands in perpendicular opposition to the key innovation that the cognitive turn introduced in experimental psychology. Gibson denied the necessity of mental representations in the perception of objects and events, be it in real scenes or in film.

Cognitive schemas and the canonical set-up of the cinema

The role of mental representations, be they cognitive principles or schemas or other mental structures was argued over a lifetime of work in the psychology of film by Julian Hochberg. A perception psychologist with an interest in pictorial representations and their aesthetics, he devoted a large part of his work to identify what is given in film stimuli and how perception goes beyond that, in often ingenuous demonstrations and experiments. (The demonstrations are, in fact, introspective observations of film perception under exactly specified, reproducible stimulus conditions). A comprehensive overview can be found in Hochberg ( 1986 ). Footnote 26 His legacy should be referred to as the Hochberg and Brooks oeuvre, because his wife Virginia Brooks a psychologist and filmmaker, contributed such a great deal to it. Hochberg found that cognitive schemata are necessary in the perception of film for two reasons. The most profound one is that completely stimulus-driven (or 'bottom-up') accounts of the perception of movement, events, and scene continuity do not really explain the experience. For example, Hochberg and Brooks point out that neurophysiological motion detectors do not explain motion perception, that is, they 'amend but do not demolish' an account based on a mental representation of motion (Hochberg and Brooks, 1996b , p. 226). The same would go for any other direct perception account, including Gibson’s optics plus invariant extraction model. The more practical argument is that the direct perception account fails to pose limits to the scope of its application, leaving thresholds and ceiling conditions for the mechanisms out of consideration. The canonical set-up of cinematic devices for recording and displaying motion pictures has evolved to produce good impressions of depth, smooth and informative motion, emphasis on relevant objects and continuity of action, often violating the course of direct perception in comparable real world scenes. Figure 1 presents a demonstration of active disregard that viewers of mainstream movies typically display. (See also Cutting & Vishton ( 1995 ) on contextual use of depth-information).

Example of perceptual disregard in the cinema. Hochberg ( 2007 ) discusses the view of objects moving in front of a landscape. In normal film viewing flatness of studio-backgrounds and quasi-camera movement is disregarded. Traditional films can use a painted or projected landscape at the backdrop of the set, and panning camera movements instead of a really mobile camera to create a convincing impression in the viewer of following a moving object in the scene’s space. A cycling woman is followed in a pan shot moving from left to right; frames A and B constitute the beginning and the end of the panning shot. In normal perception in the real-world objects on the horizon seem to move in the direction of the moving subject, whereas nearby objects move in opposite direction. Panning involves a stationary viewpoint, causing the image to lack this 'motion parallax'. For example, the scarecrow in the middle ground of frame B should be further to the left from the ridge on the horizon than in frame A (DA < DB), but the distance between the objects has remained identical (DA = DB). However, the lack of parallax and resulting apparent flatness can be and is disregarded and viewers experience smooth self-motion parallel to the moving object. Disregard such a this is part and parcel of normal film viewing or the "ecology of the cinema".

The most immediate demonstration of apparent motion is Duncker’s induced motion referred to above, a cinematic effect because it is dependent on canonical projection within a frame. The best analytic examples are about the perception of events in filmed dance. Footnote 27 For Hochberg and Brooks an ecological approach to perception in the cinema needs to take the ecology of the cinema into account.

The necessity of cognitive schemas in film perception was pointed out most pregnantly in Hochberg’s dealing with the comprehension of shot transitions or cuts. It was argued that known sensory integration and Gibson’s extraction of invariants, fail to account for viewers’ comprehension of frequent and simple cinematic events like elision of space and time. Overlap in contents between successive shots can be hard to identify or lack at all. Hochberg and Brooks proposed a principled alternative: films play in the mind’s eye. Viewers construct an off-screen mental space from separate views, and they can link two successive views by the relation of each of these to this space. In constructing a mental space, overlap may even be overruled by other cues, that have nothing to do with any invariance. The construction must involve event schemas and cognitive principles removed from anything immediately given in the film. Schemas may indeed outperform (mathematical) invariants picked up from the optical array offered by the screen. Hochberg and Brooks ( 1996b ) show, for example how gaze direction of film characters or personae in subsequent shots may be more effective in the construction of a continuous mental scene than overlapping spatial or visual symbolic contents. Footnote 28 Mental schemas seem to be indispensable in the comprehension of sequences of completely non-overlapping cuts. A famous demonstration by Hochberg and Brooks is reproduced in Fig. 2 . The succession of shots is readily understood when it is preceded by the presentation of a cross, which provides the integrating schema. Viewers’ schema-based continuous perception of scenes is supported by the ways that traditional cinema tells its stories. The presentation of an overall view in so-called 'establishing shots' followed by a 'break-down' of its object into subsequently presented part views is a cornerstone procedure in classical continuity film style (Bordwell and Thompson, 1997 /1979).

Role of mental schemas in the comprehension of continuous space across shots as discussed in Hochberg and Brooks ( 1996 , 2007 ). a The sequence of eight static shots does not seem to make sense. b A static preview of the entire object as in A) would activate a mental schema of a cross. Subsequent shots are then recognised as consecutive camera relocations, counter-clockwise rotations offering subsequent views of corners From Hochberg and Brooks ( 2007 ). Adding a shot of the cross moving diagonally to the lower left corner of the frame would smoothen the transition between the entire object view and the view of its top right corner further and facilitate the perception of the subsequent parts. Hochberg and Brooks ( 1996 ) reported that replacing one of the shots by a blank frame does not lead to confusion. For example, if shot 7 were replaced by a blank frame, the view of the lower left angle of the cross would seem to have been skipped, and shot 8 would be recognised as to present a view of the lower left corner. That is, the trajectory of the views would remain intact in keeping with the overall view of the object. This illustrates all the more the leading role of the schema of a cross in the perception of its parts.

A smooth understanding of non-overlapping cuts may require dedicated knowledge of discursive story units and rules for their ordering that only literary analysis types of study can reveal (Hochberg, 1986 , pp. 22–50). Hochberg and Brooks ( 1996a , p. 382) pointed out that theoretical or empirical proposals as to the nature of such representations were lacking. They found Gestalt principles unsatisfactory (Hochberg, 1998 ). Current film psychologists have taken up this challenge as we shall see briefly.

As a final contribution of Hochberg and Brooks’ to the psychology of the film, we would like to highlight their view of film spectators as partners motivated to deliver their share in a communicative effort. Film viewers contribute to the canonical setup of the cinema in that they are astutely aware of the filmmaker’s communicative intentions: '… the viewer expects that the film maker has undertaken to present something in an intelligible fashion and will not provide indecipherable strings of shots' (Hochberg, 1986 , p. 22–53). Viewers must be assumed to have an associated motivation to explore the views presented to them. In a series of inventive experiments, Hochberg and Brooks gathered evidence for an impetus to gather visual information. Looking preference increased with cutting rate and with complexity of shot contents. Visual momentum , or viewer interest, (Brooks and Hochberg, 1976 ; Hochberg and Brooks, 1978 ) as they termed it is the absorbing experience typical of cinema viewing. These studies help us to understand how current cutting strategies meet the viewers’ typical motivation for cognitive enquiry. The reward of comprehension is carefully dosed by varying the time allowed to the viewer to inspect objects and scenes, dependent on their novelty and complexity.

Hochberg’s demonstrations of the involvement of mental structures in understanding portrayed events was in large part based on introspective evidence. They have been criticised for relying too heavily on top-down control of perception by too intricate mental structures, by Gibson and others. Footnote 29 Current research in the cognitive structure tradition uses more sophisticated experimental set-ups. Inspiration has been drawn from theories of discourse processing in cognitive science. In this research, the relationship of 'top-down' use of schemas in scene comprehension with 'bottom-up' processing of stimulus features has become an important question. Footnote 30 Zacks has extensively investigated how film viewers segment the ongoing stream of images and extract meaningful events and actions from it. Viewer segmentation depends on automatically detected changes in a situation (Zacks, 2004 ). Detection of the changes requires only minimal use of schemas, and triggers automated perceptual-motor simulations of events and subevents such as actions. Footnote 31 Segmentation follows the logic of events in the real world. Most importantly, multiple events can be organised in a hierarchical or linear fashion, as scenes, sets of events and subevents or actions (Zacks, 2013 ).

Theory of mind and layered meaning of events

Extracting events in understanding film scenes needs more than retrieving schemas of real world events. The fact that they are presented with an idea in mind, is reflected in their understanding. Understanding film scenes and especially characters, their actions, plans and goal has been argued to require a so-called Theory of Mind (Levin et al., 2013 ). TOM is a system of cognitive representations of what beliefs, needs, desires, intentions and feelings people have in their interaction with others and the world. It is acquired in early childhood, when children understand that others, too, have an internal life, similar to but also different from one’s own beliefs and feelings. Levin et al. explain how use of TOM, also referred to as mentalising is necessary for an elementary understanding of film character actions and feelings. For example, character gaze following that underlies our perception of what characters feel or want to do with respect to an object that they look at requires TOM. TOM underlies grasping spatial (and action-) relations in scene comprehension across cuts using gaze following. Understanding relations between more complex events require schema-controlled theorizing on what people believe, do, think, and feel. Finally, Levin et al. demonstrate through film analyses how film viewers construct multi-layered representations of a film’s action from the point of view of different characters, the viewer and even from the narrator’s or filmmaker’s. For example, viewer and character perspectives may clash as in dramatic irony , or the narrator may create false beliefs on story events in viewers.

Continuity of events and viewer attention

Hochberg’s question of what the mental schemas look like that enable us to perceive smooth progress of events across film cuts has recently been addressed by the next generation of film psychologists. They have sought answers in profound analyses of the canonical setup delivered by the founders of cognitive film theory in the humanities, such as Bordwell ( 1985 , 2008 ), and Anderson ( 1996 ). Bordwell’s extensive analyses of classical film narrative and his account of the viewer’s mental activity in the comprehension of the film’s story-world suggest a film-psychological hypothesis on the experience of continuity: Classical Hollywood film style serves smooth progress of the narrative. Continuity editing ensures fluency across shot transitions. Shot A cues cognitive schema-based or narrative expectations that are subsequently matched in shot B. Expectations can be perceptual or cognitive, i.e., requiring inferences supported by event schemas. Anderson added a Gibsonian perspective, arguing that the perception of film scenes mimics the perception of real world scenes. Continuity shooting and editing closely follow the constraints of the human perceptual systems that have evolved to 'extract' continuity from changing views of scenes in the real world. Recent research into the experience of smooth development of events and scenes across shot transitions draws on these principles of continuity narration. Footnote 32 Framing, editing and sound finetune the viewer’s top-down search to focus on candidate target stimuli. A quite complete and accurate explanation was offered by Tim Smith. His Attentional Theory of Cinematic Continuity ( 2012 ) explains the viewer’s sense of smooth progress by the continuity editing principles that mainstream filmmakers tend to adhere to. AToCC breaks away from Hochberg’s analyses to the degree that it holds that viewers do not need intricate spatial or semantic schemas to construct continuous events from separate shots. Rather it is built on the Gibsonian principle that perceiving continuity in film scenes derives from the continuity that we experience in perceiving scenes in the natural world. The ecology of the cinema renders it sufficient to follow a number of simple spatiotemporal guidelines. Continuity editing film style guides viewers’ attention in seamlessly following action across cuts. Attention, that is the focused selection of objects in a shot by the viewer, i.e., what and where the viewer directs their gaze, is led by the filmmaker. The viewers’ gaze in shot A is directed to the part of the screen where the target of interest in shot B, that is after the cut, will be. The shift of attention from one portion to another of the screen in shot A is shortly followed by the cut, and because the gaze 'lands' in the right place in shot B, the cut has become invisible. Footnote 33 The theory of continuity perception adds precise levels of analysis to the construction of mental scene spaces that Hochberg proposed. It distinguishes higher level and lower level control of attention. Higher-level ones include 'perceptual inquiries' as Hochberg and Brooks ( 1978a ) called them. The expectations or questions that guide the gaze may be minimally articulated, e.g., 'what or whom are these characters looking at' as in gaze following, but the operation of higher level cognitive schemas are not excluded. The best demonstration to date of the control of focus of attention by the narrative is given in research on suspense and its effects on film viewer gazes by Bezdek et al. ( 2015 ) and Bezdek and Gerrig ( 2017 ). Footnote 34 Their results can be taken to imply that suspense, a state of high absorption, is associated with focal attention to story-world details supervised by expectations created by the narrative (see also Doicaru, 2016 ).

The study of film viewers' attention has delivered a firm account of the role of the ubiquitous Hollywood continuity film style in the typical experience of smoothly flowing film scenes and stories that audiences allover the world have. (See for a review Smith, Levin & Cutting, 2012 ).

A lead role in perception for cinematic low-level features?

Experimental psychology has always aspired basic explanations of perceptual responses, preferably through transparent mechanistic associations with physically observable stimulus conditions. The role of high-level narrative schema-based attention in smooth film experiences discussed in the previous section, is subject to debates in which experimental data support arguments pro and con. To begin with, AToCC emphasises the role of leading expectations in following cuts, but more akin to the Gibsonian approach of visual perception than to Hochberg’s schema position as it is, it tends to stress lower level features as directing attention bottom-up, too or even more so. One lower level is given by film-stylistic devices, for instance the use of sound that can orient viewers to direct their gazes to the next shot’s portion of the screen where the sound’s origin will be shown. Another are lower level stimulus features in a narrower and technical sense, such as bright lights and movements with sudden onset that automatically attract attention due to the make-up of the senses and the brain. Especially movement was shown by Smith to be an extraordinary low level attentional cue. The power of low level feature control of attentional shifts has inspired Loschky et al. ( 2015 ) to speak of the 'tyranny of film'. They start from research findings suggesting that the use of low-level stylistic features can result in attentional synchrony across film audiences, that is individual viewers of a scene gaze at exactly the same portions of the screen at exactly the same time. Footnote 35 Remarkable degrees of inter-viewer synchronization of visual attention has also been established in studies of localisations of brain activity in film viewers (e.g., Hasson et al., 2003 ). However, Stephen Hinde’s research has recently shown that the distraction effect of inserted low-level attention triggers is quite limited (Hinde et al., 2017 ) In line with this notion of top-down attention control overriding bottom-up attention triggers, Magliano and Zacks ( 2011 ) demonstrated that the perception of cuts is suppressed by higher order processes related to the construction of complex events.

Gibson’s idea of invariants in optical arrays can now be made concrete, enabling the prediction of bottom-up controlled attention and perception from objectively identified features. Developments in computer vision, image and sound analysis have paved the way for automated extraction of features and patterns in visual and auditory stimuli in terms of multiple dimensions. For example, machine extraction of saliency as a feature predictive of bottom-up attention has been developed and applied in numerous computer vision applications. A much-cited article by Itti and Koch ( 2001 ) illustrates the idea for static images. Specialised neural network algorithms detect features such as colour, intensity, orientations, etc. in parallel over the entire visual field. Each feature is represented in a feature map, in which neurons compete for saliency. Feature maps are combined into a saliency map. A last network sequentially scans the saliency map, moving from the most salient location to the next less salient one and so on. Footnote 36 An excellent explanation of how to obtain saliency maps is given at a Matlab page. Footnote 37

Psychologists of film in their attempts to explain the extraordinary smooth and intense perceptual experience that mainstream film typically provides, currently seek to join forces with computer vision scientists. In a next step, they may seek collaboration with vision labs in the world that attempt to link their low-level film image feature analyses with film narrative structures and viewer responses. Footnote 38

Examples of computational film analyses. Number of shot transitions as a function of acts. Cutting ( 2016 ), Fig. 2 . Under Creative Commons License ( http://creativecommons.org/licenses/by/4.0/ ). Note that ordinates are inverted; lower positions of titles mean larger number of shots and decreased shot durations. Normalised time bins refer to units of duration standardised in view of variable film length of separate titles. Left panel displays distribution of cuts over time and acts, right panel of non-cut transitions such as dissolves, fades and wipes.

The work of perception researcher James Cutting has carried the psychology of the film into the next stage of the Gibsonian ecological approach, while also linking it with insights in the structure of film narrative from humanities scholarship. Footnote 39 In an interesting essay on the perception of scenes in the real world and in film Cutting ( 2005 ) summarised the ecological perspective on perception stating that understanding how we perceive the real world helps to grasp how we perceive film and vice versa. Footnote 40 In the last decade Cutting developed powerful computational content analysis methods that reveal the patterning of low-level features in relation to dimensions of film style and technology, in representative samples of Hollywood films of well over a hundred titles. The theoretical starting point of the approach is that movies exhibit reality. The psychologist Cutting subscribes to the analytical distinctions made in literary and film theories between plot, form and style of a narrative on the one hand, and the represented story-world on the other. The Gibsonian proposal is that analyses of the fabula or story-world (i.e., the action, events, characters and so on) should lead to identification of syuzhet features (i.e., formal and stylistic features that are physically given in the film stimulus or can be perceived without substantial instruction) functional in the perception and understanding of that story-world; vice versa, variations in form and style reflect variations in the portrayed story-world. Cutting’s definition of low-level film features used in the analyses was informed by analyses of narrative, style and technology by David Bordwell, and methods for statistical style analysis by Barry Salt ( 2009 ).

Low-level features analysed by Cutting and co-workers are physically and quantitatively determinable elements or aspects occurring in moving images, regardless of the narrative. They include shot duration, temporal shot structure, colour, contrast and movement. The value of each feature can be expressed as an index for an entire film, or for some segment targeted in an analysis. Footnote 41 Inspection by an analyst complements machine vision analyses, but I would qualify the indexing approach as computational (objective) film analysis , because of intensive tallying and numerical operations developed by specialists in psychological data-processing. The features do not constitute events or scenes, but they accentuate these. A recording of their measurements for an entire film would constitute an abstract backbone to be filled with scenes and events. One possible comparison is with the rhythmic score of a song without melodies and words. In the hands of capable film-makers they are indispensable for conveying the narrative, due to their direct, predictable and automated effects on the visual system.

The primary use of the approach is in film analysis. The multi-feature configurations of indices can be used to reliably 'fingerprint' films or sections. Reliably because the indices are derived from large numbers of measurements. Computational film analysis uses a historical corpus of films and has been deployed over the past decade to corroborate and enrich historical analyses of film style. Footnote 42 The climax so far of efforts to integrate computational content analysis with film theory and analysis is Cutting’s ( 2016 ) report on narrative theory and the dynamics of popular movies. The corpus consisted of 160 English language films released between 1935 and 2010, ten for each year. As Figure 3 illustrates a typical course obtained of the number of shot transitions over film presentation time, interpretable as to mark the acts and the pace of narration, see Figure 3 . An important outcome of the analyses is that clear physical support was obtained for the four-act structure proposed by film historian Thompson ( 1999 ) across the entire period. It should be noted that Thompson’s act structure was identified largely on the basis of higher level narrative segmentation. Footnote 43 Shot scale was unrelated to the act structure. Cutting added analyses of higher order level film features that can be interpreted to co-vary with narration. Footnote 44 Cutting then ventured upon a multi-feature analysis of the entire corpus. Associations among all indices across all titles could be reduced to four dimensions: motion, framing, editing and sound. They correlated in a meaningful way. For example, shot scale was inversely related to shot duration; in classical narration close-ups tend towards briefer durations than wide shots. Each dimension represented polar opposites between features, e.g., music vs. conversation for sound and close-ups vs long shots for framing. Computational content analysis can explore the dynamics of the dimensional representations over subsequent acts of movies. Figure 4 reproduces Cuttings findings for prolog, setup, complication, development, climax, and epilog. Footnote 45 It would seem that the analysis winds up in a level of cinematic content representation that is grounded in directly given stimulus features, integrated with film-analytical features that can be readily indexed and seem relevant as production tools in regular filmmaking.

Five movie dimensions in narrational space. Reproduced from Cutting ( 2016 ) Fig. 9. under Creative Commons License ( http://creativecommons.org/licenses/by/4.0/ ). The displayed representation is obtained from dimensional reduction of the numerous associations between film titles in terms of their feature profiles. The results of the first stage of the analysis are not displayed here, see Fig. 8 in Cutting ( 2016 ). In that stage, the number of associations between all titles regarding all features was reduced to four dimensions (see main text) using principal component analysis. In the next stage the analysis was applied to the features and films for each separate act, to result in the configurations shown here. Arrows vary in length, correspondingly to differences in the range of values on the dimensions. Black dots indicate median values of the acts on the dimensions. Considering for example the sound dimension, it can be seen that the set-up tends to have more conversation and the climax has more music. The red bars indicate the dispersion of values on the dimension and the degree it is skewed towards one or the other end

What does computational content analysis mean psychologically, that is how do indices and dimensions function in the viewer’s perceiving and comprehending events? Patterns of features trigger changes in viewers’ physiological, attention, perception and emotion systems, according to Cutting ( 2016 , p. 27). Typical low-level configurations may correlate with possible effects on the viewer’s perception and experience of events. For example, shot duration may support interpretations of pace, mood and tension, think of drama’s long takes; temporal shot structure is functional for sustaining attention or suspense (e.g., when a sequence of brief shots abruptly merges into long duration shots), e.g., in thrillers; movement (of camera and objects on screen) serves arousal in the viewer, as in action movies; low luminance signals possible threat as in horror movies, while high luminance may lend 'a sense of other worldliness' (Brunick et al., 2013 , p. 141). All low-level features can help viewers in categorising films as to genre, and changes in these will support segmentation of events and scenes, which is at the basis of smooth narrative understanding. Combinations of indices enable more interesting interpretations of possible experience effects. Footnote 46 However, because the studies that the overarching computational content analysis was based on do not involve response measurement, a direct connection between cinematic form (especially narrative procedures) and cinematic meaning that Cutting argues for is open to further elaboration. Even in the face of the richness of directly given information that has been extracted using computers, Cutting sees room for the use of cognitive schemas. The very narrative acts that are underlined by immediately given information may be schematic in nature, but he finds it more likely that their functioning is less dependent on memory-processes than the very high-level cognitive structures implied in cognitive scripts and TOM reasoning.

To conclude the sections on the cognition of film scenes, we seem to have made important progress in understanding how movies construct events in film viewers' minds an brains, as put it in his state of the art review. Movies in part "dictate" events, actions and scenes to viewers' brains using an "alphabet" of visual and auditive features; viewers in turn contribute to the construction of story-worlds by developing and matching higher-order structural anticipations using embodied cognitive event, character and narrative schemas. Since 1916, the film units that have been analysed increased from paired single stimuli (as apparent motion experiments) to whole film acts (as in computational film analysis). Analyses of narrative structure from film theory have become for the psychology of film what harmonics and counterpoint analysis signify to the psychology of music or the theories of syntax and semantics to psycholinguistics. They inform psychological notions of film structure and organization.

The awareness of narrative film

The third part of The Photoplay deals with issues other than the psychological mechanisms or the psychology of film form namely the awareness offered by the photoplay. It was only natural to Münsterberg as a child of his time to designate the special awareness that film creates as the explanandum in psychological research, the mechanisms of film stimuli impinging on attention, perception and memory being the explanans . His characterisations of this conscious awareness, what it is like to watch theatrical films, or in other words the phenomenology of the film experience remains in my view as yet unparalleled. Apart from the sense of freedom that we have already discussed, they include attentional and affective experiences.

Münsterberg described enjoyment as the immediate effect of theatrical film, explaining it from the exceptional freedom of the imagination: "The massive outer world has lost its weight, it has been freed from space, time, and causality, and it has been clothed in the form of our consciousness. The mind has triumphed over matter and the pictures roll on with the ease of musical tones. It is a superb enjoyment which no other art can furnish us" (Münsterberg, 1916 , p. 95). Light has been thrown on the remarkable fluency of the film experience noted by Münsterberg by current research in narrative procedures, and the mechanisms of continuity perception discussed in the previous section. Münsterberg also stressed that the enjoyment of photoplays depends on our experience of the film’s story as an emotionally meaningful world separate from reality: 'The photoplay shows us a significant conflict of human actions … adjusted to the free play of our mental experiences and which reach complete isolation from the practical world …' (p. 82). And finally, he singled out the role of focused attention in enjoyment. 'It is as if that outer world were woven into our mind and we were shaped not through its own laws but by the acts of our attention, …' (Münsterberg, 1916 , p. 39).

Twentieth century academic psychology did not develop much of a body of theory and research on human consciousness. Hence it is not surprising that alongside research into perception and comprehension one doesn’t find much work on the conscious experience of film. Measurements of perceptual, attentional, cognitive and affective responses in experimental psychology are extremely limited with regards to the contents of consciousness that they tap. Lab tasks enabling measurement are must be simple, e.g., identification, comparison or categorisation of visual stimuli, rather than free description or recall. Self-reports associated with such tasks must be quantifiable and take the shape of choice responses, simple intensity ratings or readily codifiable reports. Behavioural measures are farther removed from any contents of experience because these need to be inferred. Here, too, simple objective coding is a must. Descriptive and interpretative reports of the qualia and meaning of experiences afforded by film have been largely left to hermeneutic film criticism and phenomenologically oriented film philosophy in the humanities. Scholarship in these fields follows in the footsteps of Münsterberg. The present overview of the psychology of the film cannot go into it further; I refer to Sobchack’s ( 1992 ) volume on the phenomenology of the film experience. It opens with the proposition that film directly expresses perceptions, a proposition coming close to the observation in The Photoplay that the contents of the audience’s experience are perceptions, attention, thinking and emotion that are projected before them on the screen.

Absorption in film

Meanwhile, progress can be reported in understanding one aspect of the rich and complex film experience namely its intensity. Münsterberg observed that the film audience’s enjoyment is due to prolonged states of attention strongly focused on a fictional story-world, so strong in fact that the here and now escapes consciousness and it seems instead as if an 'outer world were woven into our mind'. Elsewhere we have proposed to refer to the experience of intense attention as absorption in a story-world (Tan et al., 2017 ), following Nell's ( 1988 ) groundbreaking description of "being lost in a book". Media psychologists specialised in research on media entertainment (Vorderer et al., 2004 , Bilandzic & Bussele, 2011 ) have developed a variety of measures capturing enjoyable absorption-like states afforded by narrative, television drama and video-gaming. We discuss four of these.

a. Narrative engagement (Bussele and Bilandzic, 2008 , 2009 ) is a pleasant state of being engrossed or entranced by the narrative as a whole as it is presented in a book or film, including the activity of reading or viewing it. Footnote 47 (Tele-)Presence (Schubert et al., 2001 ; Wirth et al., 2007 ; and others) refers to the embodied awareness of being in a virtual world: being there with your body, in other words absorption in a story-world. Footnote 48 The concept has its origin in research into the experience of virtual realities. Footnote 49 Attempts have been made to ground mechanisms of film-induced emotion on presence that is the audience’s basic and embodied awareness of being in the middle of the story-world as a witness to events befalling characters Anderson ( 1996 ); Tan (1994, 1996 ).

b. Green and Brock’s ( 2000 ) definition of transportation is the most frequently used conceptualisation of absorption in media-psychological research. It is considered a major gratification offered to readers of narrative and film viewers alike. It overlaps with presence in that it features a sense of being in the story-world, as well as a realistic and attentive imagery of details. The difference may be that as a metaphor transportation evokes associations with transition to or travel into the film’s story-world. Footnote 50 More than presence, the operationalisations of transportation entail personal relevance and participatory sympathetic feeling, amplifying the emotional quality of the experience.

c. Empathy is the common denominator for concepts referring to absorption in the inner life of fictional characters. Like transportation, it is seen as a major gratification in reading stories and watching drama and movies. Viewer empathy has been defined as perceiving, understanding and emotionally responding to character feeling in the seminal work on the subject by Zillmann (Zillmann, 1991 , 1996). Perceived similarity and sympathy for the character (grounded in moral attitudes) have been suggested and tested as determinants of spectator empathy in drama (e.g., Zillmann, 1996; 2000 ; 2003 ; 2006 ). Footnote 51 There is still a need to sort out possible forms of empathy specific to the canonical conditions of the cinema which may be quite different from situations in real life where we observe other persons. Footnote 52 Moreover, empathy with film characters can be less or more cognitively demanding. Footnote 53 Identification (e.g., Cohen, 2001 ) seems to stand for complete absorption of the viewer’s self by a represented character. Footnote 54 It can be argued that empathy is the rule in film viewing while identification is the exception (e.g., Zillmann, 1995; Tan, 1996 , 2013a , b ), as most mainstream film narratives are mainly geared towards provoking the former rather than the latter. According to Smith ( 1995 ) they use 'alignment' techniques that promote perspective taking and allegiance strategies that foster viewer sympathy for the character while the distinction between self and character is unaffected.

d. Finally, flow (Csikszentmihalyi, 1997 ) is the odd person out in the series of absorption-like experience concepts reviewed here, because it applies not only to absorption in movies, narratives or games, but to any activities that stand out for a certain intensity and intrinsic reward as well. The rather simple idea supporting the concept is that a pleasurable state is experienced when the challenges inherent in an activity just match the person’s capacities. In the canonical setup of mainstream film (and mainstream audiences) this balance is generally realised due to filmmakers’ skilful presentation of interesting story-events, and the overlap of it with attentional, perceptual and cognitive routines that film viewers have acquired in the real world. Mainstream movie continuity film style facilitates flow a great deal as it tedns to minimize challenges posed by transitions from one view or perspective to another. Smith's ( 2012 ) studies were discussed above as relevant to smooth continuity of visual attention, and I would also mention the research on comprehension of events by Schwann (2013; Garsofsky & Schwan, 2009 )

Obviously, these and other varieties of absorption are not mutually exclusive. Elsewhere we have presented qualitative empirical support for a dynamic interplay among the varieties of absorption (Bálint and Tan, 2015 ). Footnote 55

From the overview we may conclude that Münsterberg’s introspective psychology of the film experience is in large part echoed in the empirical observations gathered one century later. Viewers feel absorbed in another, exceptionally vivid reality, 'clothed in the [embodied] forms of our consciousness' (presence and transportation). Empathy is mentioned by Münsterberg as a prominent experience, and his notion of an unhampered stream of the imagination may correspond with the experience of flow. Focused attention is already in The Photoplay a major component of the film experience, that would later be investigated in research on bottom-up vs. top-down attention discussed above. Absorption, empathy and intensely focused attention can easily substantiate the enjoyability of watching films as Münsterberg already would have it. However, compared to Münsterberg’s conceptualisation of the typical film awareness, insights into how acts of imagination on the part of the spectatorcontribute to it have not advanced that much in the psychology of film. Footnote 56

A narrative simulation account of emotion in film viewing

Absorption is an affective state characteristic of the film expeirience. However, a description of the typical experience of narrative films is incomplete if more specific affective states are not considered. Watching movies has been identified with emotions. We go to the cinema to experience mirth, compassion, sadness, bittersweet emotions, thrill, horror, and soon in response to what we see and hear happening to characters and ourselves. Emotions of movie audiences have not received much attention since Münsterberg’s Photoplay . Twenty-first century film psychology has taken up where he left off, and a major step forward has been to regard the narrative structure of films as a fundamental starting point for explaining film viewer emotions. The narrative simulation account is, I think, dominant in today’s psychological approaches to the issue of why the cinema offers the intense and remarkable emotional experience that Münsterberg’s photoplays induced a century ago. Important work on emotion in media users has been done in media psychology, most on empathy with characters, but narrative induced emotion has not received much attention, as can be seen from a complete overview by Konijn ( 2013 ). Cognitive scholars in the humanities have highlighted different aspects of film narratives that induce perceptions of fictional events associated with intense emotional experiences (e.g., genre-typical film style: Grodal, 1997 , 2009 , 2017 ; Visch and Tan, 2009 ; narrative procedures, e.g., Smith, 1995 ; Plantinga, 2009 ; Berliner, 2017 ). I hope the reader will allow me to use my own work on the subject as an illustration. It is closely related to the cognitive - theoretical analyses just referred to. I have found a cognitive approach to emotion in general psychology fruitful for narrative modelling of emotion in film viewing. Footnote 57 Investigations of film-induced emotion have raisedthe issue of apparent realism : how can a clearly fictional world be taken for real to the effect of intensely moving emoting viewers? Oatley introduced a cognitive theory of narrative fiction as simulation ( 1999 , 2012 , 2013 ) that applies to film as a stimulus for possibly complex emotions. Narrative runs simulations on the embodied mind just as programs run simulations on computers. Footnote 58 I would add that filmviewers take part in a playful simulation in which the film leads them to imagine they are present in a fictional world, where they witness fictional events that film characters are involved in (Tan, 1995 , 1996 , 2008 ). Being a witness involves embodied perceptions of what happens in a fictional world, as well as in the imagination constructing and participating in events, without acting on these. In the process, events are taken for real for the sake of playful entertainment. This position is related to Walton’s ( 1990 ) well-known account of fiction as make-believe.

Frijda’s cognitive theory of the emotions (Frijda, 1986 , 2007) is the starting point for further explanation of emotional experiences in response to film. The theory posits that the emotion system has evolved for adaptive action in the first place. For example, the sight of a monster will spawn a strong urge to flee due to a basic concern for safety being jeopardised. Of course, film audiences do not run out of the auditorium. According to the cognitive theory of emotion, action responses are not fixed responses to emotional stimuli, but the result of appraisals of what they mean for a person’s concerns in light of the situational context. Playful simulation provides the contextual frame for the complex appraisal of apparent realism of film events. The appraisal has three stages: perceptual, imagination based and self-involved. Footnote 59

1. Many popular film stimuli provoke immediate and automated appraisals of concern relevance and ensuing emotional responses, due for instance to their nature of unconditioned stimuli in the real world. A snake popping out from the bush would be an example. Emotional appraisals in the cinema can be and often are empathetic. That is they include perspectives on events taken by film characters. Film technology in mainstream movies is used to emphasise emotional triggers; editing could strengthen the suddenness of the snake’s appearance, and photography could render fear releasers such as the typical movements of the snake more salient. Footnote 60 But popular films also present us with emotional stimuli that are immediately perceived as fake, for example a rubber prop snake. Due to the playful simulation frame further cognitive processing of perceptions takes place. In the first case, film viewers realise that just perceived events are not real but must be held true for the sake of a playful simulation. In the second, they realise that the fake stimulus is only a prompt, and comply with its invitation to hold the stimulus true and allow it to appeal to their concerns, also for the sake of playful simulation.

2. Once imagination takes over from perception, the reality status of stimuli is traded for believability. As part of the imagination fictional events are matched with higher order genre-specific narrative schemas, and then dealt with as possibilities in a particular world . As Frijda ( 1989 ) argued when he discussed the apparent reality of fiction: 'Seeing a fake snake approach a real person is not scary. But watching an imaginary snake approach an imaginary Jane is. The first is seen as unreal in a real word, and the second as real in an imaginary world. And this is how we appraise events in fiction. The fun of art is in the play with the duality' (p. 1546). Play with the possibility of events in the imagined world and entertaining as-if emotions can suffice for genuine emotion to arise. As I argued elsewhere (Tan, 1996 ) the appraisal of the possibility of events in a particular fictional world can and usually does lead to genuine emotion, because humans have been equipped with a capacity to have emotions in response to mental representations of counterfactual and imaginary events. Footnote 61

3. The genuine emotion can—but does not need to—open up considerations of the believability of fictional events in the real world. Moreover, it can lead to imaginations in which the viewer’s self is involved in the events or their ramifications. The appraisal of fictional film events is treated in more detail in Tan and Visch (2018). The search for film style and technology features that are conducive to particular emotional appraisals has only slowly lifted off. Cutting's computational content analyses were already mentioned There are scattered empirical studies e.g. of camera angle and editing pace by Kraft (1987) and Lang et al. 1995, respectively. Film technique manuals and critical anayles provide abundant intuitively convincing examples of how to produce emotionally appealing sequences. It is to be expected that computational film analysis will soon enable large scale studies of the use of style and technology in emoting scenes.

Back to emotion and action. As film viewers perceive film scenes to be projections on screen of a fictional world, they understand they cannot act, and their action tendencies are suppressed. Footnote 62 As importantly, one’s inability to act upon a fictional world is a strong trigger for emotional responses involving the imagination of action. Driven by sympathy, viewers desire that protagonists escape from a horrific situation. In their imagination they anticipate and hope that the protagonist is saved by someone or something and if need be by a fictional miracle. Footnote 63 Thus, they experience or exhibit a virtual form of action readiness (Frijda, 1986 ). Footnote 64 This readiness for action can be directly observed in film viewers from their "participatory responses" (Bezdek, Foy & Gerrig, 2013 ) - such as overt expressions of sympathy for a character (see also Tan, 2013b ). However, there is one thing that film-viewers as witnesses invariably do when properly emoted: eagerly watch the events on screen.

Following cognitive film theory further, I consider the emotional experience of film as the sum total of experience of the appraisal, internal and external bodily expressions and changes in action readiness integrated in consciousness in accompanying the sensory intake of units of film.

Film, interest and enjoyment

An account of `film - audience emotion is incomplete if it does not go into the question why we actually take the trouble of watching movies. Münsterberg already wondered how mature people can become so emotionally absorbed in fantasy worlds. Narrative films can be argued to address two basic emotional concerns in particular, curiosity and sympathy (Tan, 1996 ). All sorts of narrative fiction, including film provoke interest by presenting events with uncertain consequences. Thus, they address a basic curiosity , that is a need for novelty, knowing and exploration. Interest is the emotion that responds to appeals involving this concern. Interest in film viewing does have a real action readiness to it referred to above: watch eagerly. Because the response in interest includes spending and focussing attention to specific story-world events, its experience goes hand in hand with absorption. Mainstream film’s narrative is perfectly designed to support a characteristic systematic unfolding of interest as an emotion. Movies continuously present cognitive challenges that viewers know they can meet. Footnote 65 Silvia ( 2006 ) has shown in a greater number of studies that this is the condition for optimal interest. I have referred to the core appraisal of narrative interest as promise of rewarding outcomes , in terms either of desirability for a protagonist or mankind in general, or of coherence, completeness or elegance of a narrative’s structure, or both (Tan, 1996 ). In addition, the prospect of sought emotions, such as excitement, enjoyment and appreciation is as well part of the promise that ongoing film narratives constantly offer. Footnote 66 Interest is closely linked with enjoyment, the primary gratification that movies offer their audience. In the cinema interetst is pleasant because it is fun to entertain anticipations of as yet uncertain story-outcomes. Moreover, every outcome, even if it is unanticipated or unfavorable, is greeted with enjoyment because it answers one's curiosity. (In the case of sad, horrific or otherwise hedonically negative or mixed outcomes, "enjoyment" is not the proper label for the rewarding emotion. We return to the fun of unpleasant emotion in a later section).On a final note, interest in film viewing is a case of narrative interest as a broader category of emotions, but the sensory qualities of the medium are relevant for how interest feels. Curiosity to know is in part a desire for the closure of a propositional narrative structure, but in the cinema we do not only want to know but also to see and hear . The enjoyment of seeing a couple kiss or a heroine return after an odyssee of some sort is in the cinema incomplete when it is not shown. In the cinematic appraisal of interest, an anticipation of embodied completion of our narrative-led imagination is a major ingredient of the promise of reward.

Emotional responses to fiction film worlds

The second concern that movies touch upon is sympathy . That this concern is active throughout the reception of all traditional movies answers the question why film viewers care about damsels, hobbits or gorilla’s in distress. There is a fundamental human need for bonding with others and recognising whatever fictional character as someone 'like us' supposedly suffices for sympathy to arise. Footnote 67 Mainstream films activate the concern to the full as their sympathetic protagonists meet with ups and downs in on the way to their goals. Sympathy-based emotions like disappointment, regret, awe, mirth, suspense, hopes and fears, compassion and sadness occur in response to obstacles or their removal on the way to protagonists realising their projects. Footnote 68 Because these emotions arise in response to events (appraised as desirable or undesirable) in a fictional world, we refer to these emotions as responding emotions . Footnote 69 Some frequently experienced sympathetic responding emotions such as fear, sadness, compassion and being moved, can be empathetic , that is require mentalising a character’s inner life. Said more precisely, empathetic emotion requires that the viewer’s appraisal of any fictional events reflects the perspective of a character; the event is understood from a character’s imagined point of view and with her concerns, and feelings. In its most intense forms, sympathy can look and feel like self-indulgent sentiment . However, there is no point in condemning tears of sadness or joy as silly. The term sentiment is not necessarily pejorative. The appraisal of a character’s suffering or good doing can involve an acknowledgment of its superior measure, notably in relation to the self’s suffering or good doing. In my compassion with or admiration for a beloved character I can feel that her fate is really woeful compared to mine, or that her altruistic achievements make mine totally insignificant. Being moved , awe and having goose bumps are emotional responses accompanying such appraisals (Tan and Frijda, 1997 ; Tan, 2009 ; Wassiliwizky et al., 2017 ; Schubert et al., 2018 ) Footnote 70

However, not every responding emotion requires empathy or sympathy. Footnote 71 The sympathy concern does not only drive our siding with characters and responding emotionally to the ups and downs in their projects. As I proposed (Tan, 1996 ) it can make us invest affectively 'film-long' in characters, on top of going along in their hopes and fears, successes and failures. We are also witnesses of characters’ slower and more profound development into personae we would want them to be. The share of action or plot development relative to that of character differs from one genre to another. Footnote 72 Generally, action movies and especially comedies tend to allow for only minimal character development, whereas the drama genres may indulge into it. In these genres, viewer interest may depend in larger part on characterisation and character development.

Another class of emotions responding to the fictional world are 'spectacular' that is spectacle based . The spectacle of landscapes, buildings, natural objects and artifices, human or animal figures in motion, can surprise us and touch on a sense of beauty and invoke appraisals of harmony, elegance, or serenity. In some genres the spectacle of explosions, injury, cruelty disfiguration, etc. may incite disgust, fear raise emotions. Spectacle-based emotions do not rely on empathy of any depth, their stimulus being the mere view or sound of a fictional scene; they are neither dependent on sympathy. In more traditional terms, image and sound combinations of objects, events, and figures in the fictional world can be emotionally appraised as spectacular, beautiful, sublime, horrific, bizarre, absurd and so on. Amazement, enjoyment, awe (the wow-feeling), entrainment, being moved and aesthetic appreciation are apt labels for ensuing emotions. Like all emotional responses to fiction worlds, spectacle-based emotions can also arise when we read narratives, but in the cinema, they compete conspicuously with plot and character-driven interest and sympathy-based affective response. It seems like the viewer’s witness role is temporarily swapped for a spectator role. Footnote 73 The viewer can identify even further with patterns of motion or sequences of image and sound that lack reference to the film’s story-world. Viewers may contemplate lyrical associations of visuals, sounds, music and symbolic concepts in embodied consciousness as Grodal ( 1997 ) proposed. If story action imaginations give rise to emotions, lyrical associations are responded to with moods, e.g., nostalgic, tense or relaxed ones. The seemingly immediate representations on screen of emotions through camera movements and associative editing editing that Münsterberg described would be examples.

Emotion structure of narrative film

As a way to profile the dynamics of emotion across an entire film I proposed to represent these in a succinct model, the affect structure of a film (Tan, 1996 ). The model represents the course of interest and of responding emotions in time as predicted by theevents as they are subsequently presented by the film. Footnote 74 Generalising across titles, a most general hypothesis is that the level of interest during mainstream movies tends to rise globally. This is because on the way to protagonists’ goals, stakes tend to go up every novel complication. This will lead to increasing promise of reward roughly between the prologue and climax acts. Locally though, interest peaks and dips alternate over subsequent scenes, depending on genre and particular film. Figure 5 displays an example course of interest measured in viewers of the film In for treatment . In this study of emotions induced by a tragic drama on a terminally ill hospital patient, we found that an initial appraisal of the protagonist as increasingly suffering under the yoke of an oppressive hospital regime, was associated with a responding emotion of compassion. After the complication act, the protagonist’s acts of resistance against the hospital’s regime gave way to admiration due to an appraisal of the protagonist’s sense of self-determination. Both measures determined the level of interest measured continuously using a seven-point slider device (Tan and van den Boom, 1992). Affect structures can be more or less generic. That is, responding emotions are just like the plots, characters, and events that prompt these, characteristic for a certain genre. The study of genre-based emotion has been concentrated in research of undesirable effects of watching violence, sensation or horror in entertainment fare, see e.g. a volume edited by Bryant and Vorderer (2006). Psychological research into the role of viewer genre knowledge is on its way (e.g. Tan & Visch, 2009 ).

Continuous interest over the course of In for treatment; N = 21; from Tan and Van den Boom (1992). Interest was registered every second using a slider rating device. Measurement was validated by self-report interest ratings. Numbers under the abscissa represent subsequent scenes. 1–6: prolog; 7–18: complication, 19–20 development; 24: climax followed by epilog.

The appeal of unpleasant emotions

A brief glance at the success rates of films featuring sad, violent or horrific content illustrates the appeal that unpleasant emotions can have to audiences at large. Münsterberg already objected to vicious effects of violent and repulsive imagery in 1910s photoplays, contents that he observed to be worryingly attractive. The psychology of the film holds various explanations in stock, but none as yet chosen. The best documented proposal is Menninghaus et al.’s distancing-embracing model that stipulates two complmentary mechanisms. One rids painful, disgusting or otherwise unpleasant aesthetic stimuli from an impact that would prevent any enjoyment or appreciation of the stimulus. The other allows for experiences that are 'intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful' (Menninghaus et al., 2017 , p. 1). The model is meant to explain the prevalence of negative emotion in all art forms, and harbours a great many classical approaches to the issue. Media psychologists have proposed what I think are regulation accounts of the pleasures of negative emotion. An emotion such as horror results from appraisal of monsters etc. as threatening and repulsive, but the emotion itself, too, can be subject to appraisal. Likewise, your crying in the cinema may induce embarrassment upon your realising that it is only a film you are watching. Footnote 75 Serious drama, the contents of which can be appraised as poignant or thought-provoking (Oliver and Hartmann, 2010 ), and more in particular independent arthouse titles that tend to provoke appreciation and elevation rather than enjoyment seem to compensate the most painful experiences they offer by a high instruction or (self-) reflection potential (Oliver & Bartsch, 2013 ). They offer continuous promises of broadening insights or revising one’s views of the world and the self, possibly only materialising to the full long after the show. In my own work I have pointed at the modulating effects of genre schemas (Tan & Visch, 2017) and narrative interest on negative emotions. Footnote 76

In closing the sections on film-induced emotion we need to note that the account of the cognitive appraisal of emoting events given here is simplified. Even straightforward film narratives can have complexities in terms, e.g., of plot lines, or character and narrator perspective that affect the intricacies of emotional events. I refer readers to Oatley’s ( 2012 ; 2013 ) discussion of in this sense more sophisticated appraisals of fictional events. More generally, film psychological research is needed into the use of more complex TOM heuristics in the comprehension of film narrative, and in emotional appraisals of film events.

The conclusion on the psychology of film awareness must be, I think, that the gripping nature of the film experience is as astonishing today as it was to early film audiences. Media psychologists have started to measure it, and cognitive film scholars have forwarded theoretical frameworks for an account of film viewer affect and emotion. But the phenomenology of film has not been expanded by film psychologists beyond the descriptions of what it is like to watch a movie provided in The Photoplay .

The psychology of film as art

Whether or not the awareness of film entails appreciations of artistry can only be a rhetorical question, but the psychology of the film has not explicitly addressed the subject. After Münsterberg and Arnheim hardly any psychologist considered film as an art form at all. And neither have general psychological aesthetics taken film into consideration. The psychology of narrative film as it developed since the 1990’s has addressed the aesthetics of movies, but rather implicitly. We have discussed psychologists’ efforts to explain the natural fluency in the perception of story-events that Münsterberg already found characteristic for the film experience. They pointed at the conventional use of continuity film style. Mainstream cinema’s narration has been demonstrated by cognitive film theorists to be at best marginally self-conscious (Bordwell, 1985 , 2006 ). That is formal features of a film’s composition, style and use of technology are non-salient and subservient to the viewer’s reconstruction of and absorption in a fabula . The viewer’s construction of a story-world is only discretely cued by the narration, and formal or stylistic patterns that do the job tend to escape consciousness to a more than considerable degree (see Tan et al., 2017 ). We could say, I believe, that the psychological aesthetics of popular film is as it stands, first and foremost about absorption , the intense and fluent imagination of being in a fictional world. And it should be added that a psychological aesthetics of forms other than popular narrative fiction film is missing. Available knowledge suffices to propose a psychology of the thriller, the romance drama or the coming-of age film, but not for a psychology of the documentary, the expressionist, the surrealist or the postmodern film, let alone of experimental, avant-garde and other museum film art forms. After all then, at present we are not far removed from Münsterberg’s speculation on the aesthetic experience of theatrical film as intense absorption due to the inner harmony of a film’s parts and conditional on only modest deviations from realistic photo-representations of the worlds that it plays.

However, as we write, everything seems set to embark on research in the film audience’s aesthetic appraisals of movies. We can rest assured that at present 'the inner parts' of mainstream film in terms of contents, style and technology have been well-described by film theorists such as those referred to above. They can help psychologists teaming up with computer vision and hearing specialists to develop computational analyses of 'the inner harmony between the parts'. As a favourable sign of the times we also note a growing interest in the implicit knowledge that the regular film audience has of patterned uses of film style and technology in various forms and genres (see, e.g., Visch and Tan, 2009 ). Moreover, the first attempts have been made to identify the psychological dimensions that underlie film audience aesthetic tastes. Footnote 77 Dimensions of what I called the Artefact emotions , that is the affective evaluations of films as aesthetic products will soon be identifiable from reviews by critics and the film audience at large that are already available in large data repositories. Footnote 78 Large scale highly data-intensive research can be accompanied by smaller scale laboratory studies of whether and how viewers attend to aesthetically relevant patterns of formal and stylistic features. Footnote 79

Concluding remarks

The agenda that Hugo Munsterberg set for the psychology of the film, explaining the film experience through revealing psychological mechanisms underlying it, and accounting for its aesthetic functions is after a century still leading. I believe that psychologists of film have over the century not added new questions, while the ones he posed have been shown to be complex or even resilient. Nonetheless the field has gradually expanded. After the 1970's growth accelerated and today we face what in modesty may be called a surge. Two film-psychological books, Art Shimamura’s Psychocinematics (2013) and Jeffrey Zacks’ Flicker: Your brain on movies ( 2014 ), have recently filled the void left after The Photoplay .

The review of psychological studies into the film experience presented in this contribution is highly selective. It was not meant at all to cover the entire field, if only because we selected achievements from the vast research area of moving images and their perception. This is why the essay is titled 'A psychology of the film' rather than 'The etc.'. Granted its basic limitations, an overview of a century of film psychology could conclude with a comparison with research agenda that was set in Münsterberg’s Photoplay . The typical gripping experience that mainstream movies offer the audience has now come to be characterised as a sense of being absorbed by and quasi-physically present in a film scene that feels like going on as smoothly and continuously as a scene in real life. Considerable progress has been made in understanding how the basic psychological functions attention, perception and memory contribute to viewers’ comprehension of film. An understanding has developed of how attentional, perceptual and cognitive mechanisms dovetail with the solutions and norms of traditional cinemascopy. In the conventional 35 mm theatre set-up, the dark environment where high-density projections extend over the limits of the foveal acuity field, screens are big enough to allow for sufficient stimulation of the peripheral motion-sensitive visual field and the spinning projector shutter makes for smooth stroboscopic movement. Moreover, the visual system is quite resistant against perspective transformations due to less optimal viewing points, probably through extracting invariants under transformation (Cutting, 1986 ). Mainstream narrative continuity film-style ensures a fluent perception and comprehension of a film’s story-world, action, characters and their inner lives. Emotional responses can be explained from the development of the story and the progress of protagonists’ projects.

And yet, a lot less effort has been spent in theoretically elaborating further on what the film experience is. There is a general disbelief that it would involve a mere recognition of events, situations, persons etc. as we know them in the real world. But what exactly the spectator’s imagination contributes to the typical awareness of the film is still mysterious. And how filmic events, and the ways they have been staged, acted, framed, photographed and edited exactly influence and prompt acts of imagination on the part of audiences, has only in part been understood.

Meanwhile, the supply of "photoplays" has immensely multiplied and diversified since 1916, but the mainstream narrative film has by far remained the most popular form. Today’s ubiquitous access to moving images through a multiplicity of screens has made it more urgent than ever for psychologists to understand the experiences associated with extremely different cinematic devices. They range from handheld phones to giant 3-D multiplex screens and surround installations in museums. Canonical set-ups of the cinema also tend to diverge because of networked interaction technologies seeking application in the production, distribution and exhibition of motion pictures. Psychologists of the film can use their current understanding of how audiences experience mainstream cinema as a basis for differentiating what film semiologists call 'dispositives': clusters of production, exhibition and reception practices characterised by specific expectations, attitudes and competences of their end users. Footnote 80

The psychology of film is rapidly developing into an interdisciplinary field. Münsterberg’s psychological study already reflected inspiration from fields far removed from experimental psychology such as the then conventional practice of the photoplay as well as from Aristotelian poetics of the theatre play. In the same vein, current psychologists of film as we have seen, improve their understanding of the perception and cognition of film in a collaboration with experts in the analysis of narration in the fiction film. Advances in current models of film viewer attention featuring narrative cuing are profoundly informed by (historical) film analyses. Footnote 81 Scholars in cognitive film studies, such as those collaborating within the Society for the Cognitive Study of the Moving Image are steadily producing in-depth analyses of film at work conjointly with the viewer’s mind. Footnote 82 The same goes for the (more modest) advances made in psychological models of film-produced emotion. Further collaborations with specialists in machine-analysis of image and sound can be expected to add to an objective identification of formal and stylistic film structures, also beyond the domain of traditional mainstream film, 'in the wild' of cyberspace, and in experimental art cinemas.

The technology of measuring psychological responses to film structures (perception, attention, memory and affect) has also developed tremendously since Münsterberg founded the perception lab at Harvard. Gaze tracking, fMRI and TMS have been added to the psychophysical and cognitive response registrations. Integration of large scale image analysis data with behavioural measures obtained in the lab or as 'big data' is the next step in the development of film psychology. The study of integral responses to units of film extending beyond a few seconds entailing entire actions, events, scenes and acts, or even films as a whole, requires new response recording devices and data models. Perhaps it will be feasible within a decade or so to append large emotional response datasets obtained from social media and filmdatabase metadata to computational content analyses described above. We will then be able to categorise films into meaningful clusters, e.g., genres and subgenres based on relations between themes, plots, film style and emotion profiles. Small scale lab experiments can tell us more about what exactly the mind adds to the image on screen and the sound from cinema loudspeakers remains. Let me single out as the leading issue the question how bottom-up and top-down mechanisms interact in producing the film experience. Footnote 83 Diversification of the set-up of in-depth studies is also necessary following the multitude of conventional set-ups of film viewing on various screens and in on-line or 'live'(?) exhibitions.

And just as in 1916, a select but growing minority of researchers in academic, empirical psychology want to understand why and how it is we perceive and what it is like to enjoy movies. They want an understanding because first they are movie-loving psychologists and second they find film a challenging testing ground for fundamental models of attention, perception, memory, imagination, emotion and aesthetics.

A more detailed discussion of the functions in photoplay viewing can be summarised thus: As regards the perception of film scenes, Münsterberg argued that in the cinema depth is seen without spectator’s taking it for real, that movement is perceived not without the spectator’s mind adding the quality of smooth motion to merely seeing a succession of positions. For example, apparent movement of in fact stationary lines is '… superadded by the action of the mind, to motionless pictures' (1916, p. 29). Attention in the cinema concentrates the mind on details that acquire an unusual vividness and become the focus of our impulses and feelings. Close-ups objectify this weaving 'of the outer world into our minds' (p. 39). Attention is characterised by a series of subsequent shifts in its object. Shifts are provided by scene or action details made salient by spatial mise-en-scène, notably actor expression (movement and gestures), and mobile framing. Memory is used at any moment to remember events presented earlier in the film. Just as attention and perception are an instrument of the imagination, memory enables the fusing of events in our consciousness that are physically apart. Münsterberg’s view of the emotions showed similarities with James’ theory on the subject, as it stressed their embodied character; emotions cannot do without behavioural and physiological expressions. Münsterberg proposed that emotions that film audiences experience are portrayed on screen. The viewer’s imagination transforms what they see into their own felt emotion: The 'horror, pain and the joy' that spectators go through are 'really projected to the screen' (p. 53). In addition, he introduced a distinction between what we would refer to today as emotions based on empathy with characters on the one hand, and on the other emotions responding to the scenes they are in.

Münsterberg’s observation of how film expresses the basic psychological functions has been compellingly argued by Baranowski and Hecht’s ( 2017 ) in their excellent review of Münsterberg’s Photoplay .

Even if what we call today automated responses do have a place in the psychological functions, perception, attention, and memory are according to Münsterberg in the end acts of the mind, and imagination is even more so.

The aesthetic experience is grounded in a Kantian conception emphasising the completeness of the work of art in itself, and an explicit denial of the contemplant’s desires or practical needs in it.

This in turn requires that we 'enter with our own impulses into the will of every element, into the meaning of every line and colour and tone. Only if everything is full of such inner movement can we really enjoy the harmonious cooperation of the parts' (p. 73).

This probably not in the least due to the stability of the experimental and social have been on the agenda of the psychology of film ever since. The functions and mechanisms of the mind that experimental research focuses on have globally remained the same, and the interest in aesthetics has not waned.

Constancies in visual perception are disrupted due to the optical and mechanic qualities of film. Examples in point include reduced depth, absence of colour, object shape and volume distortions due to insufficient information on object size or camera’s distance.

A famous example is the ballet sequence in René Clair’s Entr’Act (1924). Filmed through a glass plate on which the dancers move, they are seen from a most unusual angle, at least compared to the canonical views that theatre audiences have, i.e., from below, and from an as unusual distance, i.e., from nearby. So close indeed that their robes fill the entire frame, and the spectator is struck by their expanding contours in the 2D plane of the screen.

To be sure, his treatment of the perception of movement, dynamics and expression in works of all arts, seem to be modelled after the organisational principles the mind uses in shaping the film experience.

Cutting has often convincingly argued that stroboscopic motion is a better label than apparent motion. His definition is 'a series of discrete static images can sometimes render the impression of motion'(Cutting, 2002 , p. 1179)

Why and how we see motion has been as basic to the study of visual perception as questions of perception of colour, depth, and shape. Helmholtz proposed that what we need to explain is how retinal images that correspond one-to one, i.e., optically with a scene in the world are transformed into mental images, or percepts that we experience. In the case of apparent motion, we need to understand in addition how a succession of retinal images are perceived as one or more objects in motion.

By smooth is meant that no transitions or flicker are seen, and no blurring of superposed images occurs. The problem of apparent motion in film has been formulated in this way by the Dutch perception psychologist and filmmaker Emile van Moerkerken in an unpublished chapter written in 1978 . The issue of why and when flickering instead of smoothly projected images are seen has been technically resolved through trial and error. Cinematic projectors need to present at least 24 frames per second if flicker is to be avoided, and higher frequencies, for instance 72 fps are even better (e.g., Anderson, 1996, pp. 54–59). These frequencies are above the human perception system’s critical fusion frequency, at least for the conventional luminance ranges in cinematic projection.

In the late nineteen sixties the organisation of the cortical cell complexes for visual perception in layered columns were identified by neurophysiologists Hubel and Wiesel ( 1959 ). Cells in Brodman areas 17 and 18 were found sensitive to different aspects of motion (e.g., orientation and spatial vs. temporal resolution), while integration into forerunners of motion perception is assumed to take place in areas V4 and MT.

Luminance and colour identification have been shown to interact with the more motion dedicated complexes in delivering impressions of motion, while the phenomenon of perceiving depth from movement has been very well documented.

For example, form-invariant apparent motion—that seems to require somewhat less elementary integration has been shown attributable to specialised MT cells for slower and faster motion (O’Keefe and Movshon, 1998 ). And as another example, Anstis (1980) discovered a system based on comparison of subsequent locations for apparent horizontal motion of a single dot, and another one for the perception of wave-form motion of an array of dots.

For example, it has been reported that test participants accurately perceive velocity of motion of a grating pattern only when they pay attention to its details (Cavanagh, 1992 ).

As another example, tension in a static work of art is perceived due to the brain’s synthesis of forces from implied movements, such as outward-directed tensions perceived in symmetrical geometric shapes. These can be observed in 'gamma movement', Arnheim, 1974 , p. 438.

The presentation times are short (flashes), say two-hundred milliseconds. The objects differ between the two presentations only in spatial position, we refer to these as A1 for object A in position 1, and A2. Depending on the interval between presentations apparent motion can be seen. With a briefest interval simultaneity of objects A1 and A2 is seen; less brief (appr. 100 Ms) makes us see 'pure motion'; that is 'objectless movement'; with still briefer intervals (appr. 60 Ms) we see 'optimal movement' of the object A1 to A2; and with briefest interval partial movement.

Wertheimer believed that perceived motion patterns reflected a short-circuiting between cells in the brain that were successively stimulated.

For example, among Korte’s laws, proposed in 1915, was a rule stating that the ratio of spatial distance between shapes and the interval between successive presentations was constant for the perception of 'good motion', clearly a Gestalt-like pattern. This coupling of the two features obtained in controlled studies, is surprising until today because purely mechanistic intuition would have it that increases in spatial distance would need 'compensation' by briefer inter-stimulus intervals to preserve smooth apparent motion. A related discovery, reported by Kolers (1972, p. 39 also militates against light-hearted use of an analogy with mechanics: Decreasing the spatial distance between successively presented shapes does not necessarily result in better movement.

First, the physiological account resting on 'prewired' neurocircuitry cannot do without integrative operations at a higher level of mental processing involving integration across separate cortical modules. Even if such operations are prewired, they represent contributions of the mind. Second, as importantly, the impact of visual stimulus features has on the perception of movement, and especially more complex forms, have been shown sensitive to control by the will within certain bounds. Third, figural processes in apparent motion appear to be extremely plastic, defying explanations by stimulus factors, as the example of induced motion illustrates.

As an illustration, even a somewhat forgotten proposal by Van der Waals and Roelofs ( 1930 ) according to Kolers, seems to go. They proposed that in apparent motion, the intervening motion is constructively interspersed in retrospect that is, only after the second presentation of the Koler object. And after Kolers' volume on apprent motion, several proposals have been forwarded on possible mechanisms. For example Kubovy and Gepshtein ( 2007 ) demonstrated in two experiments that spatial and temporal distances act either in trade-off or coupled to one another to provide for smooth apparent motion; the one at low speeds and the other at high speeds. None of the proposals have been accepted as the final solution, also because different definitions of the factors or the criterion for motion have been used.

Michotte (1946) attempted with some success to capture configurations of moving objects that would be perceived as instances of causation , a mentally represented concept. For example, block A is seen to 'push' block B forward if A approaches B (that is standing still) with an appropriate speed, and contact time. Alternatively, B will be perceived to 'depart' if some time in contact has elapsed before B moves away from A. In fact, Michotte’s experimental phenomenology was influenced by Brentano who was a major inspiration to the early Gestalt psychologists as well. Another great contribution by Michotte to the psychology of the film was that he was one of the first to analyse the problem of the apparent reality of cinematic scenes that Münsterberg and Arnheim had signalled. His diagnosis was that we see non-real objects, that is shapes projected on the screen. However, we do perceive—physiologically—real movement of these, and this is a condition presumed to be decisive for perceiving reality. Heider and Simmel are known for their demonstration of the inevitability of event, person and story-based schema-based inferences that viewers of simple animated geometric figures tend to make (Heider and Simmel, 1944).

Note that objects are not part of an optic array, as the latter refers to the metrical organisation of patterns of light.

There are certainly limits to the likeness of the dynamical optical flow offered by film images to real world ones. First, the flow is interrupted by cuts, and second the projected image in the cinema constrains the optic flow in a variety of ways. (Thanks to one the anonymous reviewers).

The discussion of Hochberg and Brooks’ psychology of the film is based on an earlier essay (Tan, 2007 ).

Hochberg and Brooks ( 1996a ) provided wonderful examples of the intricate aesthetics of camera movement when filming a human figure in motion, examples that require frequent analyses of filmed dance, or to film dance oneself, as Brooks has done indeed. Movement may be seen where there is actually none, apparent reversals of direction or apparent stasis may all occur, even in parallel. Hochberg and Brooks ( 1996b ) demonstrated that complex movements need to be ‘parsed’ by viewers into components depending on factors such as fixation point and even viewer intentions. Direct realist explanation of the film awareness would soon stumble on degrees of stimulus complexity too high to capture in optical array invariants; input from other cognitive structure-based mechanisms capable of selecting candidates for 'pick-up' would be necessary.

Hochberg ( 1986 ) stated that in some cases only the most complex cognitive efforts could explain an understanding of shot transitions, that could only be conveyed through literary analysis. Here he was probably referring to cases in artistically highest end productions.

For example, Hayhne (2007) criticised Hochberg’s stipulation that mental schemas used in understanding shot transitions cannot be spatially precise or complete. She quoted evidence of the use of self-produced body movements following a mental map with extreme precision.

According to one such theory (the so-called Event Indexing Model, Magliano, Miller & Zwaan, 2001 ) viewers of film like readers of stories generate embodied cognitive models of (story-) situations. These mental models represent sequences of events, people and their goals, plans and actions, in spatiotemporal settings. The situation model is continuously updated while the film proceeds. Updates follow upon the identification of changes in story-entities (e.g., movement of characters or objects), time, causality and intentionality.

This synthetic response by the viewer can be taken as the actual recognition and categorisation of an event or action. Neuroscience research has identified areas of the brain involved in recognising—and 'simulating' actions such as grasping an object, or exhibiting a facial expression, e.g., Hasson et al. (2004).

As an example study, Garsoffky et al. ( 2009 ) demonstrated that the recognition of events by film viewers improved when framing objects or events across shots adheres to viewpoints that are common in real world perception. Other studies tested the notion that movies adhering to this style present viewers with simplified event views that they can readily integrate in an available event schema (e.g., Schwan, 2013 ).

The cueing of attentional shifts to the target portion of screen B can assume distinct forms, such as through match on action, establishing and shot/ reverse shots, and point shot. The attentional shift has carried the conscious experience across the discontinuity in views. The theory is documented by numerous analyses of scene perception, in which analysed shot contents are overlaid with dynamic gaze maps. The model can explain how violations of continuity principles result in less efficient gaze behaviours. Artistically motivated violations are taken seriously, but dealt with as atypical for the canonical set-up.

Bezdek et al. ( 2015 ) report a study in which participants were shown a film scene at the centre of fixation while checkerboard patterns were flashed in the periphery of vision. The results of fMRI analyses showed that activity of peripheral visual processing areas in the brain was diminished with increasing narrative suspense of the scenes, whereas activity in areas associated with central vision, attention and dynamic visual processing increased.

In one experiment, viewers were presented with a sequence from Moonraker in which James Bond jumps out of a plane and can be expected to fall 'safely' onto a circus tent. This high-level event schema-based cognitive expectation was enhanced in one condition but not in another, through providing a written context before the sequence was shown. It turned out that providing context knowledge led to the critical inference and to less surprise, pointing at the functionality of high-level attention cues. However, gaze behaviour did hardly differ between the high-level cued vs. non-cued viewers. Moreover, effects predicted from a tyranny of film analysis of the sequence—that is where viewers looked and what, were much stronger than the subtle effects of high-level cognitive processes.

The computation of visual salience can easily be extended to the case of film by replacing the input image by a series of frames and the output by an array of saliency maps. Furthermore, low-level features such as colour and orientation need to be integrated over successive images into dynamic ones, e.g., changes in orientation, and into motion features.

See: http://bitsearch.blogspot.nl/2013/05/saliency-maps-and-their-computation.html#!/2013/05/saliency-maps-and-their-computation.html (accessed 31 Jan 2018).

For example, an international group from the universities of Brescia and Teesside has recently shown able to predicts movie affect curves that is, dynamic patterns of emotional responses, from low-level features such as colour, motion and sound, while taking into account the influence of film grammar (e.g., sequences of varying shot-types) and narrative elements (e.g., script or dialogue analysis classifications). The analysis of the grammatical and narrative features can be supported by the computer but are not entirely machine-executably algorithmic. The emotional responses were measured using physiological and self-report measures (Canini et al., 2010 ).

In his earlier widely acclaimed work in general visual perception, Cutting continued the Gibsonian ecological approach to the perception of real world scenes, attempting to find formal extraction and coding principles sustaining the direct pick-up of behaviourally relvant information. See, e.g., Cutting ( 1981 ), in which ecological tenets regarding the perception of events based on invariant structures in the information offer of the visual stimulus. This line of research also included cinematic perception. An example is his study on the perception of rigid shapes when viewers are seated at extreme angles vis-à-vis the centre of projection, e.g., front row side aisle (Cutting, 1987 ).

In the essay Cutting lists the cues in the optical array that sustain the perception of distance in the real world, and then elaborates on how filmmakers manipulate depth cues in order for the audience to perceive scenes exactly the way the narrative requires them to.

Following the convenient overview in Brunick et al. ( 2013 ) they are for duration average shot duration in seconds; for temporal shot structure the distribution of shot durations; for movement the degree of difference between pixels in adjacent frames (zero when frames are identical means no movement); for luminance the degree of black vs white of images; and for colour the distribution of hues and degrees of saturation of frames.

For example, in the analyses just mentioned Cutting et al. established in their Hollywood sample an increase of movement between 1905 and 1935 and could relate this finding to film-analytic accounts of stylistic changes supporting growing emotional impact of movies. As another example, consider the well-documented finding that shot duration tends to decrease across the history of popular film. Salt (2009) reported a linear decrease of average shot length. Cutting and Candan ( 2015 ) could use his data and added nuances to the general linear decrease trend that they replicated. One was that different slopes for shot classes obtained, especially in the post 1940s’ Hollywood films, another that shot scale, in particular increasing use of wide angle shots, contributed considerably to the decrease in shot duration.

The climax works towards the minimum as the narrative tends to progress here presenting focused events without disruption, while its scope is wider and shifting in the set-up and epilogue acts. Consistently, during the climax movement is more frequent while shots also tend to be darker compared to the remaining acts. The set-up and epilogue contrast most conspicuously with the climax, while complication and development exhibit steady in-between values for the low-level feature parameters.

They do not manifest physically, but their indexing is perceptually straightforward. One is time shifts, a structural feature. It decreased over the time of a film, in line with the film-narratological notion that a film’s action thickens towards a deadline. Three other higher-level features were more semantic in nature. Character appearances dropped after the set-up. Action shots were most numerous at the end of the set-up and the beginning of the climax, while conversations levelled down during the climax.

Cutting’s ( 2016 ) interpretative qualifications illuminated the stylistic distinctions among the acts. They are most informative and any summarisation would be detrimental to the value of the analyses. To give just one example For example: 'The development also has several characteristics in contrast to the complication: its shot durations are a bit longer (Study 1), it has more noncut transitions (Study 2), and it is dimmer (Study 4) so that by its end the luminance falls to the psychological and literal “darkest moment” for the protagonist' (Cutting, 2016 , p. 24). I encourage the reader interested in the stylistic comparison of the acts to reading the original article.

An example is an analysis by Cutting et al. ( 2011 ) of 150 historical films were indexed as to movement and shot duration. They observed a decrease of movement with decreasing shot durations, and reasoned that a basic perceptual mechanism could be at the basis of this correlation: people can only follow so much movement in a duration-limited view. The researchers then analysed newer films that far exceeded the maximum movement-to- shot duration ratio, and it was found from the public discourse around the titles that viewers could not cope with the overload stimulation.

Dimensions captured in the instrument include comprehension of the narrative, a sense of being in the story-world, emotional responses to story-world events and characters, and attentional focus on story-world details. The remaining experience concepts refer to experiences of entertainment or story-worlds excluding awareness of a narrative or any other constructions underlying these.

Hinde ( 2017 ) has recently presented evidence showing that self-reported presence is positively related to response latencies in a dual attention task in which participants were required to respond to a distractor signal while watching a movie. This result supports the notion of absorption and loss of awareness of the real world.

Variants of presence stress embodied apparent reality of the portrayed world, and the loss of awareness of mediation. Loss of awareness and apparent reality point to the illusion of being absorbed by the story-world. Presence seems the most immediate experiential outcome of natural or real-world scene perception and event comprehension mechanisms. It was implied in Gibson’s summary of the awareness of film: 'We are onlookers in the situation, …, we are in it and we can adopt point of observation within its space'.

In this respect, the concept of transportation builds on Gerrig’s ( 1993 ) seminal work on the experience of narrative worlds. Transportation requires a 'deictic shift' (Segal, 1995) from the real to the story-world (Segal, 1995 in Bussele and Bilandzic, 2009 ). When the narrative ends the spell is broken and the audience returns into the previously inaccessible real world.

In line with general psychological research on empathy, a distinction has been made between embodied simulation of film character feeling and a cognitively more demanding forms of empathy with characters (e.g., Tan, 2013a , b ). Complex forms of empathy that require TOM cognition presuppose that there is an awareness of the distinction between self and other. The highest degrees of absorption by characters (measured by items such as 'I became the character') seem characterised by a complete fusion of the viewers’ self with the character and are properly referred to as identification (e.g., Cohen, 2001 ). In this case, viewer emotion is identical with character emotion.

For example, cinematic techniques of selective or emphatic framing of character expression can lead to stronger mimicry or embodied simulation on the part of the viewer than observation of a person in the real world would allow (e.g., Coplan, 2006 ; Raz et al., 2013 ).

The less demanding forms are based on automated embodied simulation or mirroring, for instance mimicry. Complex forms involve mentalising, or reasoning supported by general Theory of Mind schemas and inferencing. The most demanding occur when the film’s narration withholds information about a character’s inner life in relation to story-events as in some arthouse films (Tan, 2013a , b ). Mentalizing has like cognitively less demanding forms of empathy been shown to be affected by film style. Rooney and Bálint ( 2018 ) recently demonstrated that close-ups of the face stimulate the use of TOM in the perception of characters.

Identification has been empirically observed and isolated from other forms of absorption by Cohen (2001); Tal-Or and Cohen ( 2010) ; Bálint and Tan (in press).

In an attempt to qualify what it is like to be absorbed in a film, Bálint and Tan (2015) synthesised a summarising dynamic image schema, from a study of film viewers’ reports on their own experience of absorption while watching a film. Image schemas are culturally shared embodied cognitive structures that have been identified by cognitive linguists and are hypothesised to underlie cognition and experience and are more specifically used in metaphorical thinking and use of language. The schema entails the viewer’s self-travelling into the center of the story-world. The self exerts forces to remain inside the story-world, and is taken there in some cases notably by the author. In Bálint and Tan’s study, readers of novels turned out to use the same image schemas to describe their experience as film viewers.

It is noteworthy that Münsterberg considers the activity of the basic functional mechanisms perception, attention and memory as consisting of 'acts', rather than responses as it would become common in mainstream experimental psychology, see, e.g., p. 57. 'Imagination' refers to acts resulting in 'products of the active mind' (p. 75) in particular memories, associations and emotions added to perceptions as 'subjective supplements' (p. 46).

For an overview of current cognitive emotion theories see Oatley and Laird ( 2013 ).

Through procedures such as suggestion and juxtaposition of fictional elements and perspectives, and due to strong coherence of elements, simulations are as engaging as to allow for recipients’ explorations of social situations, involving the self. This results in emotions ranging from the more basic to the social and culturally sophisticated type.

The stages correspond to Oatley’s ( 2013 ) direct, imaginative and self-related modes of appraisal in film-induced emotion.

There is some literature on the affective potential of mainstream film techniques. See for example experiments on camera angle and image composition on emotional appraisal of objects and characters such as weakness, tenseness, dominance or strength reported in Kraft ( 1991 ), and an overview of formal and presentation features of media messages in relation to their emotional effects by Detenber and Lang ( 2011 ).

This capacity has the obvious adaptive advantage of learning proper responses to critical situations before they are met in the actual world. The same point has been made by Currie ( 1995 ); see also Currie and Ravenscroft ( 2002 ). See also Tan ( 2008 ) on pretense play as exercising emotions and adaptive responses in film viewing. My position on the issue of the authenticity of emotion in response to fictional narrative is opposed to Walton (1990) who proposed that make-believe worlds can only induce 'as-if emotions'.

Neuropsychological accounts of film viewer emotions, such as those by Grodal (2009) and Zacks’ ( 2014 ) emphasise suppression of actions such as fight or flight, by prefrontal circuits following appraisals, e.g., of threats or provocations. In my related application of the cognitive theory to film viewing, viewers can experience a tendency to flee as an initial tendency, due to automated mimicry or simulation.

An attempt to measure virtual forms of emotional action readiness in response to several film genres was reported in Tan ( 2013a , b ).

In the end virtual action responses in the cinema should be understood as an example of the situatedness of emotion in general. (See Griffith & Scarantion, 2009 ). The conventional set-up of the cinema positions spectators as witnesses to fictional events and appraisals, experiences, expressions and action readiness take shape according to the cinematic situation.

In the end, viewers know on the basis of their narrative and genre schemas, the film will provide answers to extant questions they have underway.

Needs of mood management and the occurrence of emotions that help to improve moods have been shown to explain preference for entertainment products such as movies (Zilmann, 2003).

Sympathy for mainstream protagonists is probably rather immediately induced by our felt similarity and familiarity with them, and more especially in terms of moral values (Zillmann, 2000 ).

The nature of the events and their outcomes corresponding to ups and downs in the life of a protagonist vary from one genre to another. For example, the action heroine meets with assaults on her life and deals blows to her stalker; the romance protagonist with separation and reunion. See also Zillmann’s theory of the enjoyment of drama.

I have introduced these emotions earlier (Tan, 1996) under the heading of Fictional World emotions or F emotions, because they are responses to events in a fictional world. F emotions include empathetic and non-empathetic emotions. Non-empathetic emotions can either be based on sympathy, for example, when we fear that a bomb will explode to the harm of a protagonist, or not based on sympathy. Awe induced by the sight of a sublime landscape would be an example. F-emotions are defined in opposition to A emotions. The latter category consists of responses to the film as a human-made artefact instead of a fictional world produced in the viewer’s imagination.

The point has been made in Tan and Frijda ( 1997 ) and Tan ( 2009 ), and more recently underscored in psychophysiological research using film by Wassiliwizky et al. ( 2017 ). Schubert et al. ( 2018 ) refer to the emotion as kama muta a socio-relational emotion of feeling closeness when an intensification of communal sharing relations is appraised. In the study just referred to such moments had been analysed in film fragments.

An example is the fear we have when we watch a horror monster in a view not aligned with any character’s, or without a character being in the neighbourhood of the monster.

See, for example, study of interest during character vs. action development oriented films Doicaru (2016, Ch. 2).

See for empirical comparative analyses of absorbed modes of witnessing drama and detached modes of spectatorship in watching nature documentaries Tan ( 2013b ).

Films are segmented (from larger to smaller units) in acts, scenes and events. All subsequent events induce interest. Every scene offers answers or matches to anticipations induced earlier, leading to enjoyment. Enjoyment tends to reinforce interest—as it stimulates intake and rewards past efforts. Every scene, too, induces novel questions and affective anticipations, keeping interest at least alive.

Some researchers of media entertainment refer to such regulatory reappraisals as meta-emotions (Bartsch et al., 2008). Positive gratifications may be derived from such reappraisals and associated emotions. Viewers of sad drama may appreciate their own moral stance that transpires through their experience of a character’s losses and suffering from injustice. Horror lovers may like the emotion because they explicitly seek it, and younger male audiences of extremely violent films have been shown to test, and pride themselves on their coping abilities (Hill, 1997). A related act of emotion regulation is male viewers’ display of protective attitudes towards their female company during horror shows (Zillmann and Weaver, 1997).

In Tan ( 1996 ) I proposed that, in contrast to aversive situations witnessed in real life, popular fiction scenes on separation, isolation, violence, terror and horror and so on are due to their being part of a story always signal that we are in medias res ; the narrative is to be continued, we are curious to know where it is heading, and it is virtually impossible to completely abort expectancies and imaginations of a turn to the positive. Entertaining these is in itself not unpleasant, especially when viewers are open to the possibility that they can learn from the unpleasant events.

Doicaru (2016) reviewed general models of aesthetic appreciation as to their suitability for explaining aesthetic appreciation of film. She reported a validation study of a measurement instrument in which five general factors were identified that may be used to describe dimensions of aesthetic appraisal in film viewing. They were Cognitive stimulation, Negative emotionality, Self-reference and Understanding. A corpus of films from different genres and aesthetic categories (e.g., mainstream, arthouse and experimental were used, and according audiences were involved.

Movies can move us not only in our role of witnesses of events in a fictional world, but also as artefacts made by filmmakers with some formal intention in mind; appreciation of visual beauty etc. are an example. They have the construction of the artefact as their object, and need to be distinguished, as artefact emotions from emotional responses to witnessed events in fictional worlds. They are aesthetic emotions because they involve appraisals of artefact features, such as form, style, use of technology and implied meaning. Untrained audiences can recount their artefact emotions: Professional critics can add elaborations of the appraisals they made while viewing. They have as their object the complex of film form, use of style and technology and intended or unintended meanings. We can further our understanding of appraisals in Artefact emotions using such intuitions available in critical film analyses. They are massively represented in internet user groups like Youtube and Metacritics. Machine learning algorithms are now being developed to extract and categorise emotions from film forums, and differentiate both films and target audiences, see, e.g., Buitinck et al. ( 2015) .

A few example studies on effects of foregrounding procedures in narrative film and their effects on cognitive strategies and aesthetic appreciation can be found in Hakemulder ( 2007 ) and Bálint et al. ( 2016 ).

The concept has developed over the past three decades, see Casetti ( 2015 ). I have freely summarised meanings to fit the purpose of sketching a research agenda for psychologists.

The large project started by Bordwell et al. (1985) on the historical poetics of American mainstream cinema, already have provided psychological research into the mechanisms underlying the film experience with major concepts and reference norms for conventional structuring of film narratives and their stylistic parameters. Among these are continuity, spatiotemporal segmentation and stylistic emphasis.

Interested readers should regularly consult the society’s scholarly journal Projections .

In the role of top-down influences I emphatically include the Münsterbergian acts of imagination on the part of the spectator.

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The research for this article has been supported in part by the Netherlands Organisation for Scientific Research (NWO), grant number 360-30-200 for the project 'Varieties of Absorption'.

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Tan, E.S. A psychology of the film. Palgrave Commun 4 , 82 (2018). https://doi.org/10.1057/s41599-018-0111-y

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217 Film Research Paper Topics & Ideas

18 January 2024

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Film research paper topics provide a rich, multifaceted canvas for critical analysis. One can explore genre theory and its evolution, scrutinizing the symbiotic relationship between society and film genres, such as sci-fi, horror, or romance. Another fruitful area lies in auteur theory, assessing the unique stylistic fingerprints of directors, like Kubrick, Hitchcock, or Miyazaki. Delving into film adaptations provides an opportunity to study narrative transformation across different media. Studying representation in film, be it racial, gender, or cultural, opens a lens into societal norms and biases. In turn, there is the exploration of film technologies and their influence on the cinematic experience. Film criticism and its role in shaping public perception can also be an intriguing topic. With every cinematic element providing a potential research topic, film studies truly cater to diverse academic interests.

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Deconstructing Zombie Cinema: Metaphors of Disease and Decay
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Silent Era to Sound: The Influence on Early Monster Movies
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This section of the Film Studies Research Guide provides assistance in many of the particular subjects in Film Studies. The pages discuss particular issues and list key resources on those topics.

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Movie Rating Prediction and Viewers’ Sentiment Trend Analysis Using YouTube Trailer Comments

Conference paper
First Online: 02 June 2023
Cite this conference paper

Sandipan Sahu 13 ,
Raghvendra Kumar 13 &
Pathan Mohd Shafi 14

Part of the book series: Lecture Notes in Networks and Systems ((LNNS,volume 617))

325 Accesses

1 Citations

Movie is one of the biggest industries in the world. It is one of the mainstream entertainment media. However, recent studies say only a few movies succeeded or satisfied viewers. Movie makers are desperate to know the viewers’ reactions and sentiments to the movie. Maximum of the previous research works ware on movie hit prediction. Significantly, few works accurately predict the IMDb rating of an upcoming movie. Very few works analyse the viewers’ sentiment before and after the movie’s release. In our research work, we extract the YouTube comments of 80 selected movies. Then, we analyse the sentiment of each review comment using the VADER lexicon. Next, compute the overall sentiment and predict the IMDb rating of each movie. In the second part of our work, we investigate the viewers’ sentiment trends pre- and post-release of the movie. We have achieved 0.4702 mean square error and 0.519 is R2-score. Our observed results proved that the forecasted rating of pre-released movies had the lowest error. Our analysis helps to support industry decisions.

Sentiment analysis
VADER lexicon
Rating prediction
Mean square error

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Department of Computer Science and Engineering, GIET University, Gunupur, India

Sandipan Sahu & Raghvendra Kumar

Department of Computer Science and Engineering, MITADT University, Loni Kalbhor, India

Pathan Mohd Shafi

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SRM Institute of Science and Technology, Ghaziabad, India

Devendra Kumar Sharma

National Taipei University of Business, Hualien, Taiwan

Sheng-Lung Peng

SRM Institute of Science and Technology, Ghaziabad, Uttar Pradesh, India

Rohit Sharma

Department of Embedded Systems Engineering, College of Information Technology, Incheon National University, Incheon, Korea (Republic of)

Gwanggil Jeon

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Sahu, S., Kumar, R., Shafi, P.M. (2023). Movie Rating Prediction and Viewers’ Sentiment Trend Analysis Using YouTube Trailer Comments. In: Sharma, D.K., Peng, SL., Sharma, R., Jeon, G. (eds) Micro-Electronics and Telecommunication Engineering . Lecture Notes in Networks and Systems, vol 617. Springer, Singapore. https://doi.org/10.1007/978-981-19-9512-5_12

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Film Research Topics: 140+ Interesting Ideas

The film industry includes a variety of fields that you can explore in your research paper. These include producing, directing, art direction, documentary films, screenwriting, cinematography, digital cinema, and more. Throughout their academic years, students get to learn and understand an array of such aspects. However, because of this extensive range of varieties, students often need help choosing the correct film research topic for their papers.

Think about something that would most effectively showcase your critical thinking and expertise. However, aside from the interest factor, there are numerous other things that you should always pay attention to. That is why, to guide you on this daunting journey, we have compiled a comprehensive list of film topics to write about. Furthermore, to help students, we have also shared some essential tips to help you pick the right topic. So, without any further delay, let’s get started!

Table of Contents

Choosing the Best Film Topic for Writing

Do you want to find the perfect topic? Don’t worry! We’ve got your back! We have enumerated a few tips you can use for selecting the right topic that perfectly fits your requirements:

Think about your favorite films, filmmakers, or genres: You can quickly narrow down the best options when you chase after the movies or filmmakers you’re passionate about. A positive attitude would give you an advantage.
Consider picking a topic from a historical era: You can choose a specific chronological age of the film industry to analyze themes, movies, techniques, etc., used in that period. Historical eras shed light on hidden or contradictory histories that either contradict or support established narratives. Thus, choosing a film topic from a significant historical era will help you frame an out-of-the-box research paper.
Choose a film genre: Choosing your favorite film genre will help you narrow down a few research topics of your interest.
Research previous scholarly articles: Research previous academic essays and papers would help you gain a significant perspective on the topic you want to use in your research paper and how you want to take it further. You can use credible sources such as published research papers, literature, media platforms, etc.
Brainstorm the ideal topics: Armed with credible sources, you can come up with the most intriguing film research topics that pique your interest. Ensure that the topic is narrow enough and establish relevant values.
Narrow down the most relevant topics. Narrowing down your good topics would make the selection process easier for you. This way, you can eliminate unnecessary topics and can analyze and select the best topic among them. Students must do an in-depth study on various film research topics. In this case, your objective is to comprehensively analyze multiple film industry aspects. Furthermore, understand the abovementioned tips before jumping on the topic selection process.

140+ Film Research Paper Topics

Movie-making is the ideal form of art that requires the correct combination of creativity and techniques. Much effort is needed to shoot the scenes and turn the big picture into reality. It is why film studies can be both interesting as well as complex at the same time. One must combine extensive research with creativity to frame their research paper. Here are some original and exciting film research topics for your academic papers to lessen your difficulties. Let’s get started!

Most Promising Film Research Topics

The most exciting film paper topics are included in the following list. When choosing a topic for your research, make sure you choose the one that will pique your interest the most. These film research topics will help you put your most professional foot forward.

You can also look at our research topics; you might get something that can correlate with your film research. So, why give it a try?

The role of censorship in the film industry
Gender Stereotypes in Hollywood Movies
The American film industry
The Life Struggle Of Hazel And August In The Fault In Our Stars Movie: An Individual Psychological Approach
Bringing Ideas into Life Through Animation
A detailed study of the cultural impact of war movies
Comics and Superheroes in Cinematography
Films Seen Through the Directors’ Eyes
The vitality of color in the film industry
Animals in Movies and on TV: Cruelty Behind the Scenes
Video editing: the vitality of visual effects in movies
Daily Soap is the New Film Franchise
The Psychosocial Implications of Walt Disney Movies
Books vs screenplays
Documentary movies: The Power to Change the World
Indie Movies: A Genre or an Attitude?
Analyzing the art and science of crafting screenplays
A detailed study of ethical issues in documentary filmmaking
The role of film directors in bringing stories to life
The impact of movie genres on different audiences
Personality Traits of the Best Film Directors
Digital Storytelling: Narrative Elements from Hollywood
The social, psychological, and cultural influence of movies
The psychological impact of masculinity and violence on youth
Exposure and Ethnocentrism in Foreign Cinematography
The Notion of Mainstream Film in Contemporary Cinema
The cultural phenomenon of drama in movies
Freudian practice in cinematography
A detailed study of the technical evaluation of the film industry

Read Also – 120+ Journalism Research Topics

Music and Sound Research Topics in the Film Industry

Music in films can stir emotions and develop an excellent experience for viewers long after watching any movie. Musicians, especially those working in cinema, experiment extensively with the film’s background score, sound design, and songs to give the whole thing a unique experience. Occasionally, a movie scene is elevated and supported by nothing but music. If you enjoy listening to music, you can research any of the film music research topics listed below.

Contemporary opera and classical crossover
The Works of Sam Raimi and John Carpenter: A Comparative Analysis
The evolution of the music industry
A detailed study of the essential aspects of film theory
Understanding the psychological impact of music on audiences
The art of sound design in movies
The effect of music on contemporary cinema
Musicals: from stage to screen
An introduction to music therapy: theory and practice
The evolution of film music: using a theme for storytelling
Movies Based on Broadway Shows
The influence of music on movie perceptions
Musical development and performance: the 20th century and beyond
Classical opera versus modern music on screen
Ambient sound in film and media production
Constructing music: an art beyond words
The structure of the popular music industry
Innovation and diversity in the popular music industry, 1969–1990
The impact of brand sponsorship on music festivals
A comprehensive study on the art of film music

Riveting Horror Film Research Paper to Consider

Horror is one of the most intriguing film genres for most of us. Some horror and thrilling movies linger for a long time for various viewers. These horror films can keep the audience on the edge of their seats. Here are some enticing horror film research paper topics to consider:

The psychology of horror movies
Use of mythology in horror movies
The life and works of Alfred Hitchcock: the master of suspense
Horror movies reflect cultural fears: a critical review
The Place of Horror Movies in Today’s Cinematography
The aesthetics and psychology behind horror movies
The concept of suspense behind the making of horror movies
Racial discrimination in horror movies
US vs European horror movies: a comparative analysis
Evaluation of Horror Cinematography Through the Centuries
A detailed study of the elements of fear in horror movies
Religion and mythology in horror movies
Use of special effects and cinematography in horror movies
Horror-comedy: the chaotic spectrum and cinematic synthesis
The chaotic fusion of horror and comedy: why do we love it?
The perception of youth toward horror movies
A Brief History of Gothic Horror
The dark side and comparative mythology in screenwriting
How Horror Reflects Societal Fears
The Holocaust as horror in American film

Film History Research Paper Topics

The history of cinema is so vast that using this as your research topic would open a world of opportunities for students. Using the history of cinema as your research paper topic would be an excellent way to earn bonus points from your committee members.

So, let’s look at the below-listed film history research topics.

Music and Multimedia: Theory and History
Globalization of popular culture: from Hollywood to Bollywood
Evolution of the film industry over centuries
The technological evolution of the film industry
The history of motion pictures
The depression years, as depicted by the American theatre
Filmmaking and its history in the United States
A detailed study of early cinema
A Brief History of Special Effects in Film
A detailed history of science fiction movies
The globalization of popular film industries
The Golden Era of Cinematography: A Complete Historical Guide
Charlie Chaplin and the Silent Film Era
Representation of African-Americans in American Movies
The contribution of women to the film industry
War justification in American cinema
Pioneers of the Moving Picture
Hollywood’s dominance of the movie industry
Movies Transformation From B&W to Color
History of the horror film genre

Brilliant Film Research Topics for Monster Movies

Just like horror movies, audiences also like watching monster movies. Compared to fictional characters such as vampires, werewolves, monsters, or zombies, those with human characteristics provide audiences a terrifying experience. Thus, if monster movies intrigue you, this would be a worthwhile research topic for your upcoming project. Familiarization with these research topics would give you a significant perspective on what research topic you want to pursue. Check them out below:

A detailed analysis of a monster culture in the 21st century
Why do we still love Universal movies about monsters?
The science behind bringing monsters to life through cinematic effects
The psychological appeal of movie monsters
The mythology of monster movies
A brief history of monsters in movies
In the true meaning of Frankenstein, who was the monster?
Aspects of horror in the films
The Monsters Within Gothic Monstrosities in Dracula
Exploring Humanity Through Monster Movies
Monsters in Our Midst: An Examination of Human Monstrosities in Fiction
Zombies in Film: The Evolution of the Zombie in Contemporary Cinema
Vampires in Hollywood: The Undead’s Evolution
Exploration of movie monsters through the years
The psychological impact of monster movies on children
The culture of fictional monsters in the 21st century
Zombies and vampires in the contemporary film industry
Understanding the relationship between myth and anomalies in the film industry
Discomforting Creatures: Monstrous Natures in Recent Film
The Monster Movies of Universal Studios

Read Also – 180+ Immigration Research Topics

Animation Research Paper Topic Ideas

Are you still struggling with your decision? We understand choosing the correct film research topic can be overwhelming, but you don’t have to worry anymore. We can help. In this section, we have prepared a list of the best film paper topics related to animation.

Advanced narrative illustration: an overview
Mapping the evolution and development of 3D in printing
A thematic analysis of digital illustration
Organizational creativity in heterarchies: The case of VFX production
Analyzing the new developments in the area of illustrations
The role of ethics, culture, and artistry in scientific illustration
Analyzing Hidden Elements in Disney Movies and Effects on Children
Exploring the progress in animation films in the past ten years
Exploring the effects of Kinematics methods on animation
Animation Character Detection Algorithm Based on Clustering and Cascaded SSD
History of the Japanese Animation Industry and New Technology
Scotland’s History of Animation: An Exploratory Account of the Key Figures and Influential Events
The history and developments of 2D animation
Analysis Of Finding Nemo Through Mythological, Theological, And Ideological Criticisms
Bringing a story to life: For programmers, animators, VFX artists, and interactive designers
Design and Realization of Animation Composition and Tone Space Conversion Algorithm
Scotland’s History of Animation
Anime: A Style of Japanese Film and Television
A comparative analysis between Kinematics and Dynamic Animation
Animated vs Static graphics in a video game
Analyzing the use of texting art in animated games.
The idea of Digital illustration and its impact on an appealing visual element
An Analysis of Animation in the Movies Frozen and Zootopia
Aesthetics and design in the three-dimensional animation process
The uses and abuses of cartoon style in animation

Read Also – A List of 100+ Research Topics in Education

Movies Research Paper Topics About Production Houses

If you are still looking for the best film topics to write about, we suggest you look at the topics below about production houses. This list includes essential research topics about film production houses and their roles in the film industry. Let’s have a look!

The risk environment of filmmaking: Warner Bros in the inter-war years
Stardom and the profitability of filmmaking: Warner Bros. in the 1930s
A Comparison in the Movie Studios Sector
Bankruptcy and Restructuring at Marvel Entertainment Group
Disney’s Marvel acquisition: a strategic financial analysis
A research study on the 20th Century Studios
Marvel, DC, and sport: Investigating rivalry in the sport and comic settings
Walt Disney Animation Studios: a detailed analysis
Historical and Mythical Time in the Marvel and DC Series
Hollywood’s attempt to appropriate television: The case of Paramount Pictures
TSG Entertainment Production Company Box Office History
A measurement study of Netflix, Hulu, and a tale of three CDNs
The Powerful Influence of Netflix and Amazon Studios
Walt Disney Studios Motion Pictures: a research analysis
Can Netflix Take Over Hollywood

Final Words

Film studies generally examine the film industry’s historical, critical, and theoretical aspects. You can easily select the perfect research topic that matches your interests from the above-provided lists of film research topics. However, there’s still an option if you need help with these. You can contact our writing services and get quick assistance. At Edumagnate.com , we provide brilliant research papers and research proposal writing services to students from all domains. You can contact us and share your requirements to get a high-quality, plagiarism-free research paper quickly.

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Film making has become part and parcel of current human life. This makes Film Research Paper Topics , Tips & Ideas to Use as Inspiration an affluent area of making money and even highly examinable in the schools. As such, as a veteran or aspiring filmmaker, researcher or student in that field, it is commendable to always have at your fingertips various current ideas to use as inspirations when working on such a topic. Consequently, this article seeks to keep you at par with the various current film research paper topics, tips & and ideas for inspiration. There are various film research paper topics by WriteMyEssays.info that the history of film making and research suggest to be very easy to work with as a beginner or student. Given the vast history of filmmaking, there are so many research topics and below is a list of the most relevant.

If you are searching for an essay writer on film topics you’ll need the best essay writing service company.

Film Research Paper Topics

There are various film research paper topics that the history of film making and research suggest to be very easy to work with as a beginner or student. Given the vast history of filmmaking, there are so many research topics and below is a list of the most relevant.

Science fiction movies

The digital era tends to appreciate science fiction movies so much. This gives this film research topic a wide range of markets, making it almost naturally acceptable. Science fiction movies as a film research paper topic also allow you to structure your script to your liking, provided it has a flow and is understandable.

African-Americans in the American Cinema

Writing about African-Americans has always been a marketable film research paper topic from time immemorial. This is given the diversity in the treatment and reception of African-Americans across the American continent. The success and rise to positions of power and leadership by the African-Americans, the rise in the anti-racism campaigns , the factual existence of people who still consider blacks as slaves and various topics surrounding the African-Americans allow you to structure your script as you so wish.

Women’s role and contribution in the film industry and society in general

Women have drastically evolved from their previous submissive nature into measuring up with their male counterparts in societal duties. Notably, in the film industry included, women have risen to the occasion to take up leadership and other roles in society and other fronts of life. This makes women in themselves a highly marketable film research paper topic.

The evolution of filmmaking

Like every other thing, filmmaking has evolved with technology over the decades. This is an exciting and highly marketable film research paper topic. The human mind tends to appreciate the knowledge of history and evolution of a field that has since become part and parcel of human life.

The Importance of Representation in Movie

The human brain tends to want to understand everything, especially the things that have since become a part of human life, like filmmaking. Consequently, the importance of representation in movies is a topic that tends to spike a debate anywhere across the globe. This makes it a highly marketable film research paper topic.

Tips & Ideas to Use as Inspiration

As a person working in the filmmaking industry, you need to know the tips and amp and ideas and to use them as inspiration when writing a particular film. When choosing an inspiration, it is commendable to go with a topic you are passionate about to make it easily navigable for you. Below is a list of ideas that tend to carry so much inspiration. This site also will help you find out more creative ideas.

Your background may form a perfect inspiration as you perfectly understand it.
The culture and heritage of a particular group of people don’t necessarily have to be ethnic.
Deserted areas tend to be good inspirations as the human mind is naturally curious and would want to know what goes on there.
Former old film .
A day in one’s life.

What are the current trends in filmmaking and research? The answers to this question tend to solve a good percentage of your problems in the film industry.

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150 Amazing Film Research Paper Topics for Students

Table of Contents

If you are a film student, then often you will have to work on film research papers. But for writing a research paper, you must have a good topic. Right now, do you want to prepare a film research paper? Are you looking for the top film research topics? No worries! We know how hard it is to come up with the right topic for a dissertation. So, to help you out, here, we have prepared a list of the best film research paper topics for you to consider. Continue reading this blog post and get exclusive film dissertation topic ideas.

How to Find a Good Topic for a Film Research Paper?

In film studies, there are plenty of film research paper topics available. Out of those topics, you will have to identify a good topic for your assignment. The topic selection becomes easier if your professor gives a set of ideas or themes for you to choose from. Sometimes, your professor will ask you to create your own idea for research. At that time, choosing one right topic from endless topics would become hard.

Are you confused about how to identify the right film research topic? Don’t worry! Here is what you will have to do to find out a good film dissertation topic of your choice.

Create a list of your favorite filmmakers, films, or genres. Then, based on your interest or category, narrow down your search.
It is not necessary to go with topics related to your favorite filmmaker or film. You can also think about a certain film history period and research the film techniques, themes, etc. used in that period.
Deep research is necessary to identify the right topic. By exploring credible sources such as literature, books, media platforms, and published research papers, you can collect more research or dissertation ideas.
From the list of ideas gathered, you can choose a topic that matches your area of interest and has a wide research scope.
If the topic is too broad, make sure to narrow it down. Because the narrow topic will help you cover all the major points before the deadline and keep your readers engaged.

Also, before finalizing the topic, check whether your selected topic stands in line with your professor’s research paper writing guidelines.

List of Excellent Film Research Paper Topics

Film studies is a broad field of study where you can conduct research on any areas such as film technology, film history, film genre, music, sound design, etc. Here, we have listed some best film research paper topic ideas in various categories. Go through the whole list and pick an ideal film topic for writing your academic paper.

Film History Research Paper Topics

Movies about the history of religions.
The importance of representation in movies.
African-Americans in cinematography.
Science-fiction movies- History
The globalization of popular culture: Hollywood vs. Bollywood.
Discuss the contribution of Fellini to cinematography.
How technology has transformed the art of filmmaking?
Discuss the contribution of women in the film industry.
Hitchcock’s sacred power.
The progress of animation in movie production.
The effect of the film industry on different generations.
Analyze the life before CGI.
War Justification in American Cinema
Charlie Chaplin and the Silent Movie Era.
Changes in Hollywood and its dominance of cinematography.
Evolution of Hollywood movies
Discuss the cinematographic excellence of Roger Deakins
History of British Cinema
The Lion In Winter – A movie that nailed historical accuracy
Discuss the contribution of Steven Spielberg
Song of the Road – The first Indian movie at the Academic Award
Analyze the impact of LGBTQ+ Representation in Contemporary Cinema.
War Justification in the worlds’ Moving Pictures
Changes in Hollywood and Its Dominance of the Cinematography

Horror Film Research Paper Topics

Special effects in horror films.
Explain the Folklore elements in the screenplay.
Discuss the popular fear elements used in horror films.
Alfred Hitchcock: The Master of Suspense.
Psychological and behavioral responses to horror films.
The fusion of comedy and horror.
Racial discrimination in horror films.
The use of religion in horror movies
The youngsters’ perception of horror films.
The idea of suspense in horror films.
George Romero: The greatest director of horror movies of all time
Compare the works of Sam Raimi and John Carpenter
Michael Myers: The most famous killer in horror movies
Chucky: One of the most scariest movies have ever made
Discuss the use of Psychopathy and Delusions in horror films with examples
A side effect of watching horror movies
The reflection of society’s fears in horror movies
The specific use of genre theory in the horror game
The human fondness for horror movies
Monster creatures from horror movies
Stephen King and his legacy in the genre of horror

Film Music Research Paper Topics

The use of music in modern movies.
The power of recorded nature sounds.
The art of sound design in movies.
The progress of music in films.
The effects of music on movie perceptions.
Bollywood-made musicals.
The art of storytelling with sound
Picture versus sound.
Broadway musicals are made into movies.
The development and cultural influence of musicals in the 20th century.
Christina Aguilera’s career in musicals.
Classical Opera versus Modern Music on Screen
Analyze the soundtrack and music in films.
Cradle of future pop stars.
The mental effects created by music in movies.
Theoretical aspects of studying film music.
Music in cinema as a director of the semantic series.

Monster Film Research Topics

Mythology in monster movies.
The aspects of human monstrosity in films.
The history of monster movies.
The science behind Hollywood’s movie monsters.
Explore fear in monster movies.
Vampires through history: The evolution of the undead cinema.
Examine the portrayal of aging in Cinema.
The Monster vs. Frankenstein: Who Is More Human?
The psychological appeal of movie monsters.
Discuss the monster movie culture in the 21st century.
Compare Prophecy (1979) and It Came from Beneath the Sea (1955)
Discuss the first monster film
Impact of monster movies on children
A side effect of watching monster movies
Use of VFX and Special Effects in monster films

Outstanding Film Research Paper Topics

TV shows: A new film franchise.
Masculinity and violence in films.
Movies through the eyes of their directors.
What are the effects of censorship on films?
The role of colors in movies.
Comics and Superheroes in films.
The role of animals in movies.
Investigate the Use of AI in Film Production, Visual Effects, and Storytelling.
Animation: Giving life to sketches.
The cultural effects of war movies.
The power of documentary movies to change the world.
Walt Disney and the psychosocial implications of his characters.
The ethical issues involved in documentary filmmaking.
The effects of Hollywood stereotypes.
The art of creating stories using video editing.

Unique Film Research Paper Topics

The role of film directors in giving life to stories.
The important qualities of a successful movie director.
The role of film critics and reviews on box office performances.
Transitions and visual effects in movie editing.
The social and cultural effects of movies .
Contribution of Arthur Conan Doyle to detective movies
Good versus Evil: A classing theme of the movie
Discuss the cinematic innovations that have changed the movie industry
Discuss the most important inventions the movie industry experienced within the past two decades
The directorial debut of Tom Hanks
How depression years are depicted in American movies?
Discuss the technological evolution of the global film industry from 1975 to 2022
The Works of Christopher Edward Nolan and Sam Raimi: A comparative analysis
Evolution of Indian cinema from 1950 to 2022
Discuss the contribution of Edgar Allan Poe to detective movies
Compare and contrast European and Asian horror movies
Discuss the comparative mythology and dark side in screenwriting
Critical analysis of the silent era of the movie industry
How African-Americans get represented in American movies
Analyze the evolution of the zombie in contemporary cinema

Interesting Film Dissertation Topics

The importance of a character in a film.
The influence of the digital revolution on the film industry?
Drama as a cultural phenomenon.
Diverse film elements are needed for creative writing.
The evolution of urban filmmaking.
Difference between commercial cinema and non-commercial cinema.
The usage of irony in films.
Discuss the popular cinema genres in the world.
Analyze the localization efforts of Hollywood films.
The relationship between literature and film.
Explore the role of men and women in blockbuster movies.
Assess the importance of global film awards in improving the quality of filmmaking.
Analyze the roles given to black actors and white actors in Hollywood movies.
Study the key differences between theater performances and film shooting.
Analyze the principles of filmmaking with respect to casting and editing.
Discuss the impact of online streaming services on the quality of traditional cinema content.
Study the impact of film in a rural area.
Explain the role of a short film in making a feature film.
Research the cultures of theater and film in the big city of a country.
Explain the economics of cinema.

Read more: Demonstration Speech Topics and Ideas That Will Impress the Audience

Brilliant Film Research Topics

The art of cinematography.
Indie Movies: An attitude or a genre?
Good versus Evil concept in movies.
The cinema of shortcuts.
Multiple actors play a single role.
The influence of social media on movie results.
What makes a great film director?
Humanity versus technology in modern films.
The role of fashion design in the film industry.
Video streaming platforms and the future of cinema.
Success factors of the American film industry.
The influence of movie genres on different audiences.
Film Noir: A style expanding through genres.
Comics in the film industry.
The persuasive effectiveness of shortcuts.
Freudian Practice in Cinematography.
The effects of streaming platforms on cinematography.
The idea of drama in movies.
The psychological aspects of filmmaking.
The art of storytelling in modern movies.

Impressive Film Research Questions

Different Types of Narrative Structures in Screenplays and Books
Violence and Masculinity in Hollywood Blockbusters.
Looking for Truth in Film: Observational vs. Direct Cinema.
Reconstructing atmospheres using ambient sounds: Recorded Nature Sounds.
Comedy and horror combined in a chaotic genre mashup.
History of the Vampire: The Cinematic Evolution of the Dead
Using the content of documentaries, kids may develop their interethnic tolerance.
The Cultural and Educational Project of the Cinema Museum and Its Importance in Historical Education.
The history of development and current status of the post-apocalyptic storyline in American movies.
The characteristics of contemporary cinema in relation to the development of historical politics.

Awesome Ideas for Film Research Paper

Digital Storytelling: Narrative Elements from Hollywood.
Analyze the Personality Traits of the Best Film Directors.
Musicals: from stage to screen.
Analyze the animation in the Movies Frozen and Zootopia.
Share your viewpoints about the use of mythology in horror movies.
Analyze the hidden elements in Disney movies and their effects on children.
Write about the history of the Japanese animation industry and new technology.
Historical and Mythical Time in the Marvel and DC Series.
Analyze the new developments in the area of illustrations.
Explore the phenomenon of visiting film locations and the economic impact on local communities.

The Bottom Line

Film studies basically approach movies from historical, theoretical, and critical perspectives. To write a brilliant film research paper, from the list of 150+ topics recommended above, choose the best topic that matches your interest. In case, you are not sure what film research topic to select or how to write an informative film research paper, then contact us for help.

We have a team of experienced writers who are masters in film studies to assist you in writing film research papers on the best topics. Based on your specifications, our experts will prepare a plagiarism-free research paper and deliver it to you on time at a low cost. As a part of our film research paper help service , we also offer unlimited revisions and 24/7 customer support.

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220 Amazing Religious Research Paper Topics and Ideas

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I am an Academic Writer and have affection to share my knowledge through posts’. I do not feel tiredness while research and analyzing the things. Sometime, I write down hundred of research topics as per the students requirements. I want to share solution oriented content to the students.

140 Unique Geology Research Topics to Focus On

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Movies as a Medium of Mass Communication Research Paper

Introduction.

Despite having a remarkably recent history when compared with other genres of mass communication, particularly, written ones, movies have become a powerful method of expressing ideas and conversing with a broad range of audiences. This paper will examine the effect that movies have been producing on their viewers, the range of film genres, and the possible avenues for their further evolution. Although it might seem that the era of movies may have come to an end with the advent of the digital epoch, innovative technology has only introduced additional opportunities for making movie watching an all the more captivating experience.

Over the decades of its development, the phenomenon of a movie has changed significantly, especially with the introduction of new genres and the discovery of new ways of conveying a particular idea visually. However, at its core, the concept of a movie has remained unchanged. Presently, a movie is defined as a “composition recorded by the camera,” or a series of images projected in a rapid succession to create an illusion of an animated narrative (Stevens 17). The specified definition might seem exceptionally narrow since it focuses primarily on the technical aspect of movie development; however, it also provides an opportunity to encompass an extraordinarily broad range of movie genres and types, which makes the provided way of defining a movie quite appropriate.

Purpose and Genres

The purpose of a movie as a communication medium is also open to multiple interpretations. Embracing film as an art form, one could claim that a film serves the function of expressing a specific emotion and reflecting the sociocultural environment in which it was produced.

However, when considering film as the means of communication, its purpose can be interpreted as conveying a specific idea to the target audience. Though the director’s intent may not necessarily coincide with the perception of audiences and critics, a movie does serve an important role of communicating ideas and concepts while eliciting emotions (Sureja and Firoz 617). Thus, the purpose that a movie is expected to serve can be seen as a twofold one, the main goal being the introduction of viewers to a specific idea, and the second one being evoking an emotional response in the audience.

The current amount of movie genres is astonishingly large, with countless subgenres and the emergence of new ones. Although the history of a movie began with a documentary, it has evolved to branch out into multiple genres, each having a unique set of requirements and standards. Unlike the literature, which have only four main genres, movies are split into a genre of different ones, without any hierarchy within them (Kretz 211). Presently, the movie genres that are the most common for the mainstream Western audiences include drama, comedy, action, romance, mystery, horror, thriller, and western (Kretz 212). Additionally, movies can be categorized based on the perspective from which they are shot, namely, the chronology of factual events (a documentary) or the genre of fiction (Ekinci 7). However, the former taxonomy appears to be the most common framework for distinguishing between movie genres.

Advantages and Disadvantages

As a communication medium, a film incorporates both benefits and disadvantages. The opportunity to represent an argument visually and, therefore, create a stronger connection with the audience is one of the most obvious and critical benefits that the movie as a communication tool provides. Visuals have a particularly strong power of shaping the viewer’s attitudes and perceptions, allowing creators to frame a specific idea in a certain way that represents an argument in an especially convincing manner. Additionally, a well-directed movie produces a cathartic effect that causes a viewer to perceive the key message eagerly (Kim 284). Therefore, movies have a tremendous power as the method of communicating an idea.

At the same time, keeping in mind key disadvantages of a movie is vital to create a compelling message and avoid key pitfalls. For instance, a movie can become a ploy for escapism for a certain type of viewers (Naderer et al. 241). Furthermore, there is an ongoing debate concerning the effects that violence in movies can produce on an individual (Khan et al. 4963). Specifically, it is believed that exposure to violence in movies may lead to developing emotional numbness toward the needs and experiences of others, therefore, losing empathy (Rodenhizer and Edwards 441). Thus, while providing substantial thrill, movies may cause one to develop psychological issues.

Current Trends and Development

Presently, the focus on streaming can be seen as a major trend that has been shaping the movie industry substantially. Due to the external factors, primarily, the effects of the coronavirus, the experience of going to the cinema has only started being revisited, which is why streaming services such as Netflix have gained impressive power in the moviemaking industry (Pedersen 87). As a result, the emphasis has been shifted toward serialized products (Kohli 63). Nevertheless, the film industry has seen quite a variety of movies lately, which is why new discoveries and creations are expected to be observed in the nearest future.

Works Cited

Ekinci, Barış Tolga. “A Hybrid Documentary Genre: Animated documentary and the Analysis of Waltz with Bashir (2008) Movie.” CINEJ Cinema Journal , vol. 6, no. 1, 2017, pp. 4-24.

Khan, Samee Ullah, et al. “Cover the Violence: A novel Deep-Learning-Based Approach Towards Violence-Detection in Movies.” Applied Sciences , vol. 9, no. 22, 2019, pp. 4963.

Kim, Seongseop, Sangkyun Kim, and James F. Petrick. “The Effect of Film Nostalgia on Involvement, Familiarity, and Behavioral Intentions.” Journal of Travel Research , vol. 58, no. 2, 2019, pp. 283-297.

Kohli, Chayn. “The Replacement of Conventional Television by Streaming Services.” International Journal of Research in Engineering, Science and Management , vol. 3, no. 10, 2020, pp. 59-67.

Kretz, Valerie Ellen. “Television and Movie Viewing Predict Adults’ Romantic Ideals and Relationship Satisfaction.” Communication Studies , vol. 70, no. 2, 2019, pp. 208-234.

Naderer, Brigitte, Jörg Matthes, and Ines Spielvogel. “How Brands Appear in Children’s Movies. A Systematic Content Analysis of the Past 25 Years.” International Journal of Advertising , vol. 38, no. 2, 2019, pp. 237-257.

Pedersen, Jan. “From Old Tricks to Netflix: How Local are Interlingual Subtitling Norms for Streamed Television?” Journal of Audiovisual Translation , vol. 1, no. 1, 2018, pp. 81-100.

Rodenhizer, Kara Anne E., and Katie M. Edwards. “The Impacts of Sexual Media Exposure on Adolescent and Emerging Adults’ Dating and Sexual Violence Attitudes and Behaviors: A Critical Review of the Literature.” Trauma, Violence, & Abuse , vol. 20, no. 4, 2019, pp. 439-452.

Stevens, Kyle. “When Movies Get Sick.” Critical Inquiry , vol. 47, no. 2, 2021, pp. 17-24.

Sureja, Naisargi D., and Firoz A. Sherasiya. “Using Sentimental Analysis Approach Review on Classification of Movie Script.” International Journal of Engineering, Development, and Research , vol. 5, no. 2, 2017, pp. 616-620.

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IvyPanda. (2023, November 20). Movies as a Medium of Mass Communication. https://ivypanda.com/essays/movies-as-a-medium-of-mass-communication-a-research-paper/

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IvyPanda . (2023) 'Movies as a Medium of Mass Communication'. 20 November.

IvyPanda . 2023. "Movies as a Medium of Mass Communication." November 20, 2023. https://ivypanda.com/essays/movies-as-a-medium-of-mass-communication-a-research-paper/.

1. IvyPanda . "Movies as a Medium of Mass Communication." November 20, 2023. https://ivypanda.com/essays/movies-as-a-medium-of-mass-communication-a-research-paper/.

Bibliography

IvyPanda . "Movies as a Medium of Mass Communication." November 20, 2023. https://ivypanda.com/essays/movies-as-a-medium-of-mass-communication-a-research-paper/.

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v.12(2); 2020 Feb

Violence Depicted in Superhero-Based Films Stratified by Protagonist/Antagonist and Gender

John n muller.

1 Emergency Medicine, Penn State College of Medicine, Hershey, USA

Annie Moroco

Justin loloi.

2 Internal Medicine, Penn State Hershey Medical Center, Hershey, USA

Austin Portolese

Bryan h wakefield.

3 Chemistry, Coastal Carolina University, Myrtle Beach, USA

Tonya S King

4 Epidemiology and Public Health, Penn State College of Medicine, Hershey, USA

Robert Olympia

5 Emergency Medicine and Pediatrics, Penn State Hershey Medical Center, Hershey, USA

The objective of this study was to describe and quantify acts of violence depicted in a select number of superhero-based films, further stratified by protagonist/antagonist characters and gender. A total of 10 superhero-based films released in 2015-2016 were analyzed by five independent reviewers. The average number of acts of violence associated with protagonist and antagonist characters for all included films was 22.7 and 17.5 mean events per hour, respectively (p=0.019). The average number of acts of violence associated with male and female characters for all included films was 33.4 and 6.5 mean events per hour, respectively (p<0.001). The most common acts of violence for all major characters were “fighting”, “use of a lethal weapon”, “bullying/intimidation/torture”, “destruction of property”, and “murder” (14.9, 11.4, 3.5, 3.4, and 2.4 mean events per hour, respectively). Based on our sample of superhero-based films, acts of violence were associated more with protagonist characters and male characters.

Introduction

Superhero-based films have become incredibly popular with both children and adults. Since 2000, there have been more than 100 films with superheroes depicted, grossing more than 23 billion dollars worldwide [ 1 ]. Despite this increase in popularity, superhero-based films represent a genre that frequently portrays violence. Published studies examining the effect of violence in the media has led the American Academy of Pediatrics to issue a policy statement, concluding that exposure to violence in the media offers a significant health risk to children that may result in aggression, bullying, antisocial attitudes, and sleep disturbances [ 2 - 6 ]. Furthermore, the Motion Picture Association of America’s film rating system ( www.mpaa.org ) does not accurately predict the frequency of violence in each rating category, and parents often find the various media rating systems difficult to use [ 7 ]. Therefore, children and adolescents may be viewing films deemed inappropriate for them based on their age.

Conversely, superheroes themselves are typically viewed as good and altruistic people that serve as role models for many children. Their origin stories often depict disadvantaged and humble beginnings, making them likable and relatable characters. In an analysis of 20 superheroes’ origin stories, 86% were orphaned or abandoned, 49% had at least one parent murdered, and 29% were bullied; this may promote resilience in vulnerable children [ 8 ]. Additional research has shown that superhero storylines may promote prosocial behavior in autistic children and encourage healthy eating habits [ 9 - 10 ].

In a recently published study examining positive and negative themes depicted in a selected number of superhero-based films, the authors concluded that the prevalence of negative themes, especially acts of violence, outweighed positive themes [ 11 ]. These acts of violence often included physical altercations, use of guns/knives/lethal weapons, bullying/intimidation/torture, murder, and demonstrating excessive anger. However, to the authors’ knowledge, there have been no published studies examining whether violence depicted in a superhero-based film was associated with protagonist or antagonist characters, or associated with male or female characters. Superheroes depicted in film may be viewed by children and adolescents as “the good guy”, and therefore these viewers may be influenced by their portrayal of risk-taking behaviors and acts of violence. Similarly, young girls, in particular, may be influenced by the behaviors of female superhero characters depicted in the film. The objective of this study was to describe and quantify acts of violence depicted in a selected number of superhero-based films, further stratified by protagonist/antagonist characters and gender.

Materials and methods

We conducted a content analysis study examining acts of violence depicted in superhero-based films released during 2015 and 2016, further stratified by major protagonist/antagonist and male/female characters. Ten films included in the analysis were identified on a popular online comprehensive film database ( boxofficemojo.com ), limited by genre (“superhero”) and date of release (“2015” or “2016”), and chosen based on the highest lifetime gross profit as listed on July 1, 2017 (Table (Table1). 1 ). Films were excluded if they were not super-hero based. The exclusion was not based on assigned film rating by the Motion Picture Association of American film rating system ( www.mpaa.org ), and thus included films assigned a PG-13 (parents strongly cautioned, some material may be inappropriate for children under 13) and R (restricted - under 17 requires accompanying parent or adult guardian) rating.

USD: United States dollar; TMNT: teenage mutant Ninja turtles; PG-13: Parents strongly cautioned, some material may be inappropriate for children under 13; R: restricted - under 17 requires accompanying parent or adult guardian

Each of ten included films was viewed in its entirety by the study investigators prior to data collection. Consensus was implemented to determine which protagonist and antagonist characters played a significant role in the storyline of the film, and thus would be considered a major protagonist and antagonist character. Data analysis was performed on 66 major protagonist and 44 major antagonist characters, and 88 male and 22 female major characters. Definitions for acts of violence were created by the study investigators prior to data collection (Table (Table2 2 ).

A data collection instrument, developed by the study investigators, allowed the five viewers (John Muller, Annie Moroco, Justin Loloi, Austin Portolese, Bryan Wakefield) to document acts of violence performed by major protagonist and antagonist characters. Each of the five viewers watched and coded every film independently. Certain coding guidelines were decided prior to viewing the study films. For example, when coding an extended fight sequence with several major characters involved simultaneously, each contained battle involving at least two opponents was coded as one act of violence event (“fighting”), while each use of a lethal weapon (“Use of lethal weapon”) or each death (“Murder” or “Mass murder”, depending on number of deaths) was coded individually per event and per character during that given fight sequence. Acts of violence performed in the film and then later referenced were coded only at the initial encounter.

After coding, data collection instruments were collected by the primary investigator (John Muller) and the data were entered into Excel. Repeated measures Poisson regression was used to determine the overall rates of acts of violence per hour for major protagonist and antagonist characters, as well as male and female characters. These event rates were reported with corresponding 95% confidence intervals and compared between rating types with adjustment for variability among reviewers. Individual types of violence were also evaluated for protagonists, antagonists, males, and females in the same type of repeated measures Poisson regression models. The most common acts of violence were identified for each of the films separately.

The Institutional Review Board at the Pennsylvania State Hershey Medical Center deemed the study exempt.

Table Table3 3 describes acts of violence for all included films, as well as stratified by major protagonist/antagonist and male/female (Table (Table3). 3 ). The overall rate of acts of violence performed by protagonist characters was 22.7 (95% CI 16.8-30.7) mean events per hour. The overall rate of acts of violence performed by antagonist characters was 17.5 (95% CI 13.9-21.9) mean events per hour. With adjustment for significant reviewer variability, there was a statistically significant difference between the overall rates of acts of violence performed by protagonist vs. antagonist characters (p=0.019). The rates of both protagonist and antagonist violence were not found to significantly differ (p=0.16 and p=0.25, respectively) between the two types of film ratings.

The frequency of “fighting” events was found to significantly differ between protagonist and antagonist characters [9.4 (95% CI 6.9-13.0) vs. 5.5 (95% CI 3.8-8.1), p<0.001]. No other acts of violence showed a statistically significant difference between protagonist and antagonist.

The overall rate of acts of violence performed by male characters significantly differed [33.4 (95% CI 26.3-40.8) mean events per hour] compared with the overall rate of acts of violence performed by female characters [6.5 (95% CI 3.7-10.9) mean events per hour], p<0.001 with adjustment for significant variability among reviewers.

Moderate to good agreement among the reviewers was found using the intraclass correlation coefficient. Among the five reviewers, agreement among the frequency of acts of violence by the protagonist was 0.73, by the antagonist was 0.60, by the males was 0.57, and by the females was 0.82. Poisson regression models did indicate significant variability among the reviewers for each of the types of acts of violence (p<0.001).

Based on our sample of superhero-based films, protagonist characters performed significantly more acts of violence compared to antagonist characters. This contradicts the common assumption that protagonists are the “good guys,” and therefore perform lesser acts of violence compared with their “evil” counterparts. Furthermore, we found statistically significantly more acts of violence performed by male characters compared with female characters. This discrepancy may be due to the predominance of male leading characters in superhero-based films. Over time, the number of female characters in superhero-based films appears to be increasing, with more female characters present in such films as Wonder Woman (2017) and Captain Marvel (2019). Future studies may be necessary to determine whether acts of violence performed by male and female characters differ with the increasing popularity and portrayal of female superhero and villains, potentially affecting the image adopted by pediatric viewers.

Although the Motion Picture Association of America provides a rating system to guide appropriate film viewing, this system does not accurately stratify the frequency of violent acts [ 7 ]. Our findings support the discrepancy present in the rating system, as we observed no statistically significant difference in the rate of violent acts performed by protagonist and antagonist characters between PG-13 and R-rated films. Thus, the number and type of acts of violence should be considered when applying the rating system to films.

The association between physical aggression and exposure to violent media has been previously published [ 12 - 16 ]. The amount of violence present in films has doubled since 1950, and gun violence present in PG-13 rated films has tripled since 1985 [ 17 ]. Children are known to learn from the observation of others’ behavior. Further, after observing that a behavior leads to a desired outcome, children often then try that behavior themselves. As superheroes are typically depicted in the media as “good”, children may view protagonist characters as role models. Therefore, children may interpret the behavior of a superhero to be acceptable, even when they are committing severely violent acts, such as “use of a lethal weapon”, “murder”, and “mass murder”. This relationship between violence depicted in the media and more frequent aggressive behavior has been found in several published studies [ 3 , 18 - 20 ]. Furthermore, McCrary suggested that television superheroes may influence the development of moral values in kindergarten-aged children, and Martin found that the feelings children have towards superheroes are related to the way in which they feel about themselves [ 21 - 22 ].

Exposure to violence depicted in superhero-based films may also affect older children and adolescents. Violent acts performed by adolescent and young adults, such as physical fighting, use of a lethal weapon, mass murder, and suicide, has been prevalent in our society. In 2015, 23% of high school students in the United States reported being involved in a physical fight and 16% of high school students in the United States reported carrying a weapon [ 23 ]. A recently published study has shown that 60% of mass school shootings in the United States in the 20th century were perpetrated by adolescents, aged 11-18, and so far this century, 77 % of the mass school shootings have been carried out by adolescents [ 24 ]. Furthermore, there has been an increase in self-harm performed by children, with the rate of suicide in preteens, aged 10-14 years doubling between 2007 and 2014 [ 25 ]. It has been shown that early exposure to violence confers a risk for suicide attempt and particularly suicide death in youth [ 26 ]. While there have been no published studies examining the exposure to violence depicted in superhero-based films and violent acts performed by adolescents and young adults, future studies should focus on this potential correlation.

The rate of bullying and cyberbullying has significantly increased over the past 10 years. In fact, according to the National Center for Education Statistics (2016), 20.8% of students in the United States reported being bullied, and of those students, 13% were made fun of, called names, or insulted; 12% were the subject of rumors; 5% were pushed, shoved, tripped, or spit on; and 5% were excluded from activities on purpose [ 27 ]. Bullying has been linked to increases in violent behavior [ 28 ]. Furthermore, an increase in exposure to antisocial media content is related to an increase in cyberbullying [ 29 ]. Based on our sample of superhero-based films, bullying/intimidation/torture is prevalent by both protagonists and antagonists, and therefore it is important to consider that children and adolescents may be learning these behaviors from the heroes and villains they see in superhero-based films.

An antidote to the increased violence depicted in superhero-based films involves co-viewing these movies as a family. Children, particularly aged 8 to 12 years, desire conversations with parents about violence. In passive co-viewing of media, there is an implicit message sent to the children that the parents approve of the content being viewed and a corresponding increase in aggressive behavior can be seen. However, if parents take an active role in their children’s media consumption via active mediation, changes are found in media-influenced behavior [ 30 ]. Active mediation occurs when parents discuss what it is being watched. This method encourages the development of critical thinking and internally regulated values. With regard to violence depicted in superhero-based films, we recommend that emphasis be placed on conflict resolution and respecting other's individuality.

There are several limitations to our study, primarily related to the selection and coding of films. We chose the 10 highest grossing superhero-based films released in 2015 and 2016 based on a popular film website. Thus, our results may not be generalizable to superhero-based films released before and since our chosen time period. Furthermore, since our selection was based on total box office gross profit, our sample of films may not represent the most popular or most watched films by children and adolescents during that time period, and pediatric viewers may access films online via streaming services that may not be reflected in the box office revenue. Lastly, we did not include any PG films in the analysis and therefore biases the results towards the more graphic violent films.

The coding of the films also represents a limitation. We found some variability in the number of events coded by each reviewer. Although coding guidelines were decided prior to our viewing of the study films, each reviewer may have interpreted scenarios, dialogue, and fighting sequences in the study films differently. Furthermore, all the reviewers were adults, who may interpret acts of violence differently than children and adolescents. Nevertheless, although our objective was to quantify acts of violence depicted in a select number of superhero-based films, the actual number of events may not be as important as the frequency in the depiction of acts of violence stratified by protagonist/antagonist and gender. Lastly, we neither did determine and quantify the intention by the major character in performing the depicted act of violence, nor did we consider the graphic nature of the violence. For example, the intention of a protagonist character in fighting or using a lethal weapon against an antagonist or causing destruction of property to protect a family or save a city would be different than the intention of an antagonist character in using a lethal weapon causing murder or mass murder, depicting massive hemorrhage, decapitations, or extremity amputations, to seek revenge against the protagonist. Although this distinction in the intention of a major character to perform an act of violence might be common sense to adolescents and adults, it may be less clear for children, and thus children may view what a superhero does as being acceptable even if the act is violent or graphic by nature.

Conclusions

Based on our sample of superhero-based films, acts of violence were associated with protagonist characters and male characters. Therefore, pediatric health care providers should educate families on the violence depicted in this genre of film and the potential dangers that may occur when children attempt to emulate these perceived heroes. To combat the inevitable inclusion of violence in superhero-based films, the authors suggest co-viewing via active mediation, emphasizing effective communication, identification of points of agreement and disagreement, and peaceful conflict resolution in dealing with disputes or dissension instead of resorting to acts of violence.

The content published in Cureus is the result of clinical experience and/or research by independent individuals or organizations. Cureus is not responsible for the scientific accuracy or reliability of data or conclusions published herein. All content published within Cureus is intended only for educational, research and reference purposes. Additionally, articles published within Cureus should not be deemed a suitable substitute for the advice of a qualified health care professional. Do not disregard or avoid professional medical advice due to content published within Cureus.

The authors have declared that no competing interests exist.

Human Ethics

Consent was obtained by all participants in this study

Animal Ethics

Animal subjects: All authors have confirmed that this study did not involve animal subjects or tissue.

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The Evolving Portrayal of Female Emotions in the Marvel Cinematic Universe

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This study explores the effectiveness of media literacy-based activities on writing proficiency and affective domains in the EFL setting. A quasi-experiment was conducted during the 2021 academic year with 148 college EFL students selected as participants from three classes from a private university in Seoul, South Korea. Participants were divided into three groups based on proficiency levels: upper proficiency, intermediate proficiency, and lower proficiency. The assigned activities included four steps: (1) watching video clips made by a teacher, (2) group discussion, (3) individual presentation, and (4) individual writing. For these activities, participants used multimedia like YouTube, Fanfiction.net, Reddit discussion boards, and blogs to understand the topic, evaluate the content, and express their thoughts. Popular franchises, including the Marvel Cinematic Universe (MCU), the Potterverse, and the Twilight saga provided material for the activities. The study’s results reveal that students significantly increased their writing skills, regardless of proficiency level. Moreover, the higher the linguistic ability, the more the writing ability improved. In a survey, students also showed significant changes in all affective domains (anxiety, interest, confidence, and engagement), except for the lower proficiency group’s confidence domain. The study presents a detailed summary of the activities and derives meaningful implications.

Marvel Cinematic Universe Introductions

Petrinovich’s target article focused on how behavioral science is done, including how it is often done wrong, and how it should be done. I identify another malign influence on behavioral science, which, so far as I know, has, until now, been ignored (I would be happy to be shown that I am wrong on this). To wit, the way that Introductions to papers are written creates a niche that can be exploited for the purposes of promoting one’s work to obtain resources or status, or for self-aggrandizement. I offer a few, probably wrongheaded, suggestions for ending this practice.

Marvel Cinematic Universe Semantic Question Answering System Based on Ontology

The cultural repertoire of recontextualized superhero in the avengers sequels.

This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

The memory of perfection: Digital faces and nostalgic franchise cinema

This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.

Expanded Universes in Science Fiction: A Matter of Integration

Still lacking theoretical definitions, expanded universes are an artistic phenomenon often seen in science fiction literature as well as in narratives in other media. This text proposes a mechanism to explain how these universes come into being. For this, we analyze a series of cases such as Robert A. Heinlen’s Future History, Ursula K. Le Guin’s Hainish Cycle, George R. R. Martin’s Thousand Worlds, Joanna Russ’ Whileaway, and transmedia examples such as the Marvel Cinematic Universe. Borrowing from Tamar Yacobi’s concept of mechanisms of integration – ways in which the reader makes sense of inconsistencies or oddities in a narrative – we argue that the explanation that two or more independent stories are set in a common universe is a hypothesis generated by the reader to integrate coincidences between these stories

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How to write a research paper about a movie?

The movie industry is ever-growing along with the technology producing it. There is always that new sound and mesmerizing video editing that make movie lovers obsessed with their favorite film. The movies elicit opinions and emotions that warrant discussions thus creating a need for a research paper that intend to find out why a movie is loved compared to others. The popularity of a movie id dependent on a lot of factors that the research intends to find out. Here are techniques from already written essays at Essay Kitchen on how to conduct and write a research paper about movies.

What is a research paper?

A research paper is an academic writing that analyzes and argues a certain point. The researcher provides their perspective on the topic and additional information and findings from other sources. A good research paper, however, isn’t dependent on having an interesting topic rather it’s about following the research paper’s instructions carefully. There are three types of approaches for a research paper one can choose from: argumentative, expository, and analytical. When writers works with book review topics , Choosing the right approach can go a long way in improving the research paper.

Check professional examples

To understand the best practices and structures of an essay, you can look for professional examples. Services which provide Research papers online have a ton of examples that showcase how to best write an essay. There is a certain structure that is required for writing to be considered a research essay that a writer is required to implement. A research paper is different from other writings such as a research proposal with the difference lying in intentions of the two essays. A research paper is intended to gauge a student’s academic knowledge on a subject while a research proposal is a writing meant to persuade an audience on the importance of a research project. Looking at professional examples will aid in the differentiation.

Search for a pre-written essay

A writer should search for a pre-written essay on movies to search for additional information and most importantly avoid plagiarism. Reading pre-written essays on the topic according to services which provide research papers online aids the writer to understand more of the topic and gives inspiration and ideas on how to formulate their paper. Also, it enables the writer to decide which approach to the topic is unique and not following the viewpoints of others. It awakens the imagination and allows research on areas the previous essays failed to cover. In writing, honesty is integral to the reputation of a writer and thus plagiarism is not allowed according to conditions of https://edujungles.com/paper-writing-service . Looking at past essays about movies will ensure that the writer does not perform any regulations when speaking on the same topic or can acknowledge the original author if they quote their passages.

How to choose a movie?

Choosing a good movie is what determines what your theater experience will be like. These are the points to consider when choosing the perfect movie:

The audience should be a consideration when choosing a movie and you should ensure that the movie best appeals to a certain audience. Age and explicit content are the factors that draw the line on which the audience is entitled to watch which movie.

Choosing an essay about movies should follow a theme emanating from either an occasion or mood of the day. There is a variety of themes to choose from such as love, justice, friendships, and history

The genres include action, animation, comedy, romance, adventure, fantasy, and thriller. All these genres provide an identity to the movie therefore one should choose a movie they best identify with.

The list for actors is endless and everyone has had a favorite actor at some point. You can, therefore, choose a movie because your favorite actor played a role in it

Create a writing plan

Creating a writing plan is essential to having a conclusive research paper on movies. A writing plan will outline the movies being considered and the pros and cons judged. The movies are therefore graded regarding viewer ratings, starring actors and genre of the movie. A good writing plan will ensure that you cover the reasons why and movie is considered more appealing than the others and a personal opinion if that is the description of a good movie essay. A writing plan ensures efficiency and excellent time management that provides the writer with the freedom to make time for resting.

Write from your heart

Movies are fun and a personal opinion creates a bond between its lovers. Being open to how you feel on Netflix movies is what provides authenticity.

The last step of a research paper is proofreading. Plugins such as Grammarly will help you get rid of the spelling errors and plagiarism.

Movies are an interesting production and new techniques continue to emerge every day. To complete an ideal research paper on movies, the writer must show their understanding of the movies and provide a discussion that is supported by facts. A personal opinion on the movies is also welcomed as it offers a new perspective regarding the movie. For instance, the protagonist of the movie may be well-liked but in your opinion, you don’t find him likable. Getting to research to prove your point of thought is what makes a good research essay.

The best AI image generators to try right now

If you've ever searched Google high and low to find an image you needed to no avail, artificial intelligence (AI) may be able to help.

With AI image generators, you can type in a prompt as detailed or vague as you'd like to fit an array of purposes and have the image you were thinking of instantly pop up on your screen. These tools can help with branding, social media content creation, and making invitations, flyers, business cards, and more.

Also: ChatGPT no longer requires a login, but you might want one anyway. Here's why

Even if you have no professional use for AI, don't worry -- the process is so fun that anyone can (and should) try it out.

OpenAI's DALL-E 2 made a huge splash because of its advanced capabilities as the first mainstream AI image generator. However, since its initial launch, there have been many developments. Other companies have released models that rival DALL-E 2, and OpenAI even released a more advanced model known as DALL-E 3 , discontinuing its predecessor.

To help you discover which models are the best for different tasks, I put the image generators to the test by giving each tool the same prompt: "Two Yorkies sitting on a beach that is covered in snow". I also included screenshots to help you decide which is best.

Also: DALL-E adds new ways to edit and create AI-generated images. Learn how to use it

While I found the best overall AI image generator is Image Creator from Microsoft Designer , due to its free-of-charge, high-quality results, other AI image generators perform better for specific needs. For the full roundup of the best AI image generators, keep reading.

The best AI image generators of 2024

Image creator from microsoft designer (formerly bing image creator), best ai image generator overall.

Powered by DALL-E 3
Convenient to access
Need a Microsoft account
In preview stage

Image Creator from Microsoft Designer is powered by DALL-E 3, OpenAI's most advanced image-generating model. As a result, it produces the same quality results as DALL-E while remaining free to use as opposed to the $20 per month fee to use DALL-E.

All you need to do to access the image generator is visit the Image Creator website and sign in with a Microsoft account.

Another major perk about this AI generator is that you can also access it in the same place where you can access Microsoft's AI chatbot, Copilot (formerly Bing Chat) .

This capability means that in addition to visiting Image Creator on its standalone site, you can ask it to generate images for you in Copilot. To render an image, all you have to do is conversationally ask Copilot to draw you any image you'd like.

Also: How to use Image Creator from Microsoft Designer (formerly Bing Image Creator)

This feature is so convenient because you can satisfy all your image-generating and AI-chatting needs in the same place for free. This combination facilitates tasks that could benefit from image and text generation, such as party planning, as you can ask the chatbot to generate themes for your party and then ask it to create images that follow the theme.

Image Creator from Microsoft Designer f eatures: Powered by: DALL-E 3 | Access via: Copilot, browser, mobile | Output: 4 images per prompt | P rice: Free

DALL-E 3 by OpenAI

Best ai image generator if you want to experience the inspiration.

Not copyrighted
Accurate depictions
Confusing credits

OpenAI, the AI research company behind ChatGPT, launched DALL-E 2 in November 2022. The tool quickly became the most popular AI image generator on the market. However, after launching its most advanced image generator, DALL-E 3, OpenAI discontinued DALL-E 2.

DALL-E 3 is even more capable than the original model, but this ability comes at a cost. To access DALL-E 3 you must be a ChatGPT Plus subscriber, and the membership costs $20 per month per user. You can access DALL-E 3 via ChatGPT or the ChatGPT app.

Using DALL-E 3 is very intuitive. Type in whatever prompt you'd like, specifying as much detail as necessary to bring your vision to life, and then DALL-E 3 will generate four images from your prompt. As you can see in the image at the top of the article, the renditions are high quality and very realistic.

OpenAI even recently added new ways to edit an image generated by the chatbot, including easy conversational text prompts and the ability to click on parts of the image you want to edit.

Like with Copilot, you can chat and render your images on the same platform, making it convenient to work on projects that depend on image and text generation. If you don't want to shell out the money, Image Creator by Designer is a great alternative since it's free, uses DALL-E 3, and can be accessed via Copilot.

DALL-E 3 features: Powered by: DALL-E 3 by OpenAI | Access via: ChatGPT website and app | Output: 4 images per credit | Price: ChatGPT Plus subscription, $20 per month

ImageFX by Google

The best ai image generator for beginners.

Easy-to-use
High-quality results
Expressive chips
Need a Google account
Strict guardrails can be limiting

Google's ImageFX was a dark horse, entering the AI image generator space much later than its competition, over a year after DALL-E 2 launched. However, the generator's performance seems to have been worth the wait. The image generator can produce high-quality, realistic outputs, even objects that are difficult to render, such as hands.

Also: I just tried Google's ImageFX AI image generator, and I'm shocked at how good it is

The tool boasts a unique feature, expressive chips, that make it easier to refine your prompts or generate new ones via dropdowns, which highlight parts of your prompt and suggest different word changes to modify your output.

ImageFX also includes suggestions for the style you'd like your image rendered in, such as photorealistic, 35mm film, minimal, sketch, handmade, and more. This combination of features makes ImageFX the perfect for beginners who want to experiment.

ImageFX from Google: Powered by: Imagen 2 | Access via: Website | Output: 4 images | Price: free

DreamStudio by Stability AI

Best ai image generator for customization.

Accepts specific instruction
Open source
More entries for customization
Paid credits
Need to create an account

Stability AI created the massively popular, open-sourced, text-to-image generator, Stable Diffusion. Users can download the tool and use it at no cost. However, using this tool typically requires technical skill.

Also : How to use Stable Diffusion AI to create amazing images

To make the technology readily accessible to everyone (regardless of skill level), Stability AI created DreamStudio, which incorporates Stable Diffusion in a UI that is easy to understand and use.

One of the standouts of the platform is that it includes many different entries for customization, including a "negative prompt" where you can delineate the specifics of what you'd like to avoid in the final image. You can also easily change the image ratio -- that's a key feature, as most AI image generators automatically deliver 1:1.

DreamStudio features: Powered by: SDXL 1.0 by Stability AI | Access via: Website | Output: 1 image per 2 credits | Price: $1 per 100 credits | Credits: 25 free credits when you open an account; buy purchase once you run out

Dream by WOMBO

Best ai image generator for your phone.

Remix your own images
Multiple templates
One image per prompt
Subscription cost for full access

This app took the first-place spot for the best overall app in Google Play's 2022 awards , and it has five stars on Apple's App Store with 141.6K ratings. With the app, you can create art and images with the simple input of a quick prompt.

An added plus is this AI image generator allows you to pick different design styles such as realistic, expressionist, comic, abstract, fanatical, ink, and more.

Also : How to use Dream by WOMBO to generate artwork in any style

In addition to the app, the tool has a free desktop mobile version that is simple to use. If you want to take your use of the app to the next level, you can pay $90 per year or $10 per month.

Dream by WOMBO f eatures: Powered by: WOMBO AI's machine-learning algorithm | Access via: Mobile and desktop versions | Output: 1 image with a free version, 4 with a paid plan | Price: Free limited access

Best no-frills AI image generator

Unlimited access
Simple to use
Longer wait
Inconsistent images

Despite originally being named DALL-E mini, this AI image generator is NOT affiliated with OpenAI or DALL-E 2. Rather, it is an open-source alternative. However, the name DALL-E 2 mini is somewhat fitting as the tool does everything DALL-E 2 does, just with less precise renditions.

Also : How to use Craiyon AI (formerly known as DALL-E mini)

Unlike DALL-E 2, the outputs from Craiyon lack quality and take longer to render (approximately a minute). However, because you have unlimited prompts, you can continue to tweak the prompt until you get your exact vision. The site is also simple to use, making it perfect for someone wanting to experiment with AI image generators. It also generates six images, more than any other chatbot listed.

Craiyon f eatures: Powered by: Their model | Access via : Craiyon website | Output: 6 images per prompt | Price: Free, unlimited prompts

Best AI image generator for highest quality photos

Very high-quality outputs
Discord community
Monthly cost
Confusing to set up

I often play around with AI image generators because they make it fun and easy to create digital artwork. Despite all my experiences with different AI generators, nothing could have prepared me for Midjourney -- in the best way.

The output of the image was so crystal clear that I had a hard time believing it wasn't an actual picture that someone took of my prompt. This software is so good that it has produced award-winning art .

However, I think Midjourney isn't user-friendly and it confuses me. If you also need extra direction, check out our step-by-step how-to here: How to use Midjourney to generate amazing images and art .

Another problem with the tool is that you may not access it for free. When I tried to render images, I got this error message: "Due to extreme demand, we can't provide a free trial right now. Please subscribe to create images with Midjourney."

To show you the quality of renditions, I've included a close-up below from a previous time I tested the generator. The prompt was: "A baby Yorkie sitting on a comfy couch in front of the NYC skyline."

Midjourney f eatures: Powered by: Midjourney; utilizes Discord | Access via: Discord | Output: 4 images per prompt | Price: Starts at $10/month

Adobe Firefly

Best ai image generator if you have a reference photo.

Structure and Style Reference
Commercial-safe
Longer lag than other generators
More specific prompts required

Adobe has been a leader in developing creative tools for creative and working professionals for decades. As a result, it's no surprise that its image generator is impressive. Accessing the generator is easy. Just visit the website and type the prompt of the image you'd like generated.

Also: This new AI tool from Adobe makes generating the images you need even simpler

As you can see above, the images rendered of the Yorkies are high-quality, realistic, and detailed. Additionally, the biggest standout features of this chatbot are its Structure Reference and Style Reference features.

Structure Reference lets users input an image they want the AI model to use as a template. The model then uses this structure to create a new image with the same layout and composition. Style Reference uses an image as a reference to generate a new image in the same style.

These features are useful if you have an image you'd like the new, generated image to resemble, for example, a quick sketch you drew or even a business logo or style you'd like to keep consistent.

Another perk is that Adobe Firefly was trained on Adobe Stock images, openly licensed content, and public domain content, making all the images generated safe for commercial use and addressing the ethics issue of image generators.

Adobe Firefly f eatures: Powered by: Firefly Image 2 | Access via: Website | Output: 4 images per prompt | P rice: Free

Generative AI by Getty Images

Best ai image generator for businesses.

Commercially safe
Contributor compensation program
Personalized stock photos
Not clear about pricing
Not individual-friendly

One of the biggest issues with AI image generators is that they typically train their generators on content from the entirety of the internet, which means the generators use aspects of creators' art without compensation. This approach also puts businesses that use generators at risk of copyright infringement.

Generative AI by Getty Images tackles that issue by generating images with content solely from Getty Images' vast creative library with full indemnification for commercial use. The generated images will have Getty Images' standard royalty-free license, assuring customers that their content is fair to use without fearing legal repercussions.

Another pro is that contributors whose content was used to train the models will be compensated for their inclusion in the training set. This is a great solution for businesses that want stock photos that match their creative vision but do not want to deal with copyright-related issues.

ZDNET's Tiernan Ray went hands-on with the AI image generator. Although the tool did not generate the most vivid images, especially compared to DALL-E, it did create accurate, reliable, and useable stock images.

Generative AI by Getty Images f eatures: Powered by: NVIDIA Picasso | Access via: Website | Output: 4 images per prompt | P rice: Paid (price undisclosed, have to contact the team)

What is the best AI image generator?

Image Creator from Microsoft Designer is the best overall AI image generator. Like DALL-E 3, Image Creator from Microsoft Designer combines accuracy, speed, and cost-effectiveness, and can generate high-quality images in seconds. However, unlike DALL-E 3, this Microsoft version is entirely free.

Whether you want to generate images of animals, objects, or even abstract concepts, Image Creator from Microsoft Designer can produce accurate depictions that meet your expectations. It is highly efficient, user-friendly, and cost-effective.

Note: Prices and features are subject to change.

Which is the right AI image generator for you?

Although I crowned Image Creator from Microsoft Designer the best AI image generator overall, other AI image generators perform better for specific needs. For example, suppose you are a professional using AI image generation for your business. In that case, you may need a tool like Generative AI by Getty Images which renders images safe for commercial use.

On the other hand, if you want to play with AI art generating for entertainment purposes, Craiyon might be the best option because it's free, unlimited, and easy to use.

How did I choose these AI image generators?

To find the best AI image generators, I tested each generator listed and compared their performance. The factors that went into testing performance included UI/UX, image results, cost, speed, and availability. Each AI image generator had different strengths and weaknesses, making each one the ideal fit for individuals as listed next to my picks.

What is an AI image generator?

An AI image generator is software that uses AI to create images from user text inputs, usually within seconds. The images vary in style depending on the capabilities of the software, but can typically render an image in any style you want, including 3D, 2D, cinematic, modern, Renaissance, and more.

How do AI image generators work?

Like any other AI model, AI image generators work on learned data they are trained with. Typically, these models are trained on billions of images, which they analyze for characteristics. These insights are then used by the models to create new images.

Are there ethical implications with AI image generators?

AI image generators are trained on billions of images found throughout the internet. These images are often artworks that belong to specific artists, which are then reimagined and repurposed by AI to generate your image. Although the output is not the same image, the new image has elements of the artist's original work not credited to them.

Are there DALL-E 3 alternatives worth considering?

Contrary to what you might think, there are many AI image generators other than DALL-E 3. Some tools produce even better results than OpenAI's software. If you want to try something different, check out one of our alternatives above or the three additional options below.

Nightcafe is a multi-purpose AI image generator. The tool is worth trying because it allows users to create unique and original artwork using different inputs and styles, including abstract, impressionism, expressionism, and more.

Canva is a versatile and powerful AI image generator that offers a wide range of options within its design platform. It allows users to create professional-looking designs for different marketing channels, including social media posts, ads, flyers, brochures, and more.

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This new ai tool from adobe makes generating the images you need even simpler, dall-e adds new ways to edit and create ai-generated images. learn how to use it, openai makes gpt-4 turbo with vision available to developers to unlock new ai apps.

Fiber-optic data transfer speeds hit a rapid 301 Tbps — 1.2 million times faster than your home broadband connection

The researchers hit a rate of 301 terabits per second — equivalent to transferring 1,800 4K movies over the internet in one second — using existing fiber-optic cables.

Scientists have achieved fiber-optic data transfer speeds 1.2 million times faster than the average fixed broadband line by tapping into a previously unstable transmission band for the first time.

The researchers hit a rate of 301 terabits per second (Tbps) — equivalent to transferring 1,800 4K movies over the internet in one second. The median fixed broadband speed in the U.S. in comparison, is 242.38 megabits per second (Mbps), according to Speed Test .

They achieved this breakneck speed by sending infrared light through tubular strands of glass — which is how fiber-optic broadband works generally. But they tapped into a spectral band that has never been used in commercial systems, called "E-band," using new, custom-built devices.

The results of the test — which were conducted using the kind of fiber cables already laid in the ground — were published in March by the Institute of Engineering and Technology (IET), the scientists said in a statement . The team also presented the research at the European Conference on Optical Communication (ECOC) in Glasgow in October 2023 — but the paper has not been made public.

A new frontier for fiber-optic connections

All commercial fiber-optic connections beam data through cables in the C-band and L-band portions of infrared in the electromagnetic spectrum — with the particular infrared region used for internet connections occupying a range of 1,260 to 1,675 nanometers (nm ). For reference, visible light occupies wavelengths between approximately 400 nm and 700 nm on the spectrum.

C-band and L-band — which range between 1,530 nm and 1,625 nm — are commonly utilized in commercial connections because they're the most stable, meaning the least amount of data is lost during transmission. But the scientists speculated that one day the sheer volume of traffic will result in these two bands being congested — meaning additional transmission bands will be needed to increase capacity.

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S-band, which is adjacent to the C-band and occupies the range 1,460 nm to 1,530 nm, has been commercially used in combination with the other two in a system known as "wavelength division multiplexing" (WDM), in which all three bands are used to reach much higher speeds.

Scientists have never been able to emulate E-band connections before, however, because the data loss in this region shoots up to extremely high levels — roughly five times the rate of loss of transmission in the C-band and L-band regions.

Specifically, fiber-optic cables are susceptible to exposure to hydroxyl (OH) molecules that can enter the tubes and disrupt connections, either through manufacturing or naturally in the environment. E-band is called the "water peak" band because extremely high transmission loss is caused by the absorption of OH molecules by infrared light in this region.

Stabilizing connections at the "water peak" band

In the new research, scientists built a system that made stable E-band transmission possible. They demonstrated successful and stable data transfer at high speeds using both the E-band and the adjacent S-band.

To maintain a stable connection in this region of the electromagnetic spectrum, the researchers created two new devices called " optical amplifiers " and " optical gain equalizers ." The former helps to amplify the signal over distances while the latter monitors each wavelength channel and adjusts the amplitude where needed. They deployed them in the fiber-optic cables to ensure the infrared light transmitted data without the instability and loss that normally plagues connections in these bands.

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"Over the last few years Aston University has been developing optical amplifiers that operate in the E-band, which sits adjacent to the C-band in the electromagnetic spectrum but is about three times wider," said Ian Phillips , professor of electronics and computer engineering at Aston University in the U.K. and one of the scientists working on the project. "Before the development of our device, no one had been able to properly emulate the E-band channels in a controlled way."

Although 301 Tbps is extremely fast, other scientists have tapped into fiber-optic connections to demonstrate even faster speeds in recent years. A team at NICT, for example, hit the world record of 22.9 petabits per second in November 2023 — 75 times faster than the speed Aston University team achieved. They used WDM technology but did not access E-band wavelengths. They demonstrated this high-speed connection over a distance of 8 miles (13 kilometers).

Keumars is the technology editor at Live Science. He has written for a variety of publications including ITPro, The Week Digital, ComputerActive, The Independent, The Observer, Metro and TechRadar Pro. He has worked as a technology journalist for more than five years, having previously held the role of features editor with ITPro. He is an NCTJ-qualified journalist and has a degree in biomedical sciences from Queen Mary, University of London. He's also registered as a foundational chartered manager with the Chartered Management Institute (CMI), having qualified as a Level 3 Team leader with distinction in 2023.

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Automating this process of perception and interaction has the potential to help users achieve their goals with relative ease. Moreover, it is also a valuable building block for accessibility, multi-step UI navigation, app testing, usability studies, and many others.

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