1. Emotion is not produced by a character reacting emotionally, as is often misleadingly thought. The crucial prerequisite to evoke the audience’s emotions are an empathic bond between character and audience.
2. The carriers of human emotion are the most basic human needs for
– harmony, balance and justice
– development and realisation
– overcoming loneliness and isolation, belonging to a community
– meaning and significance
These comply with the needs of the characters.
3. Archetypical needs are expressed as values. While the denial of values creates a strong development of desires among members of the audience, the prevailing and passing on of values creates a desired fulfilment of wishes. Both effects create emotion.
The denial of a value is executed through injustice, imbalance, undeserved suffering, harm through no fault of one’s own or unrequited love. The audience’s emotional participation is the longing for a restoration of a value.
The prevailing of a value is executed by characters with a clear disposition who won’t be discouraged. Their attitude exudes emotional values like courage, commitment, honesty and absolute will-power. They touch the audience because they are true to themselves in every situation and speak uncomfortable truths.
The passing on of values happens through interpersonal relationships. The exposition of loyalty, solidarity and compassion evokes emotional longings among the audience. By letting the characters experience intimacy and enter interpersonal relationships which intensify in the course of the film, the audience is emphatically bonded with them. The audience feels involved. Similarities between the characters, especially on an ideational level, make their bond perceptible for the audience. The mutual exchange of material and immaterial attention is based on the most basic human need for a civilisation of togetherness and mutual support: help, assistance, giving and receiving, endowment and acceptance of gifts are expressions of integration. Associated character features are generosity, engagement, selflessness and caring for others. The desire to belong exists on different levels: in the partner relationship, the family, among friends, as a member of a social, ethic or national group. The more complex the social integration of the character is, the bigger is her emotional potential in a story. An interesting phenomenon in this context is the principle of social charging: a scene becomes more emotionally intense when it is ‘witnessed’ by other people. A couple’s confession of love appears to be more intense when it happens in front of other empathetic people because here the emotion is carried over to many others and therewith multiplied. The passing on of values to one or several people evokes emotions.
Emotions manifest as beats on a scenic level. When a beat hits a character’s vulnerable spot her emotional amplitude is the strongest: it makes her reveal her weakest, most vulnerable and sensitive side. The greatest emotional effect though occurs when a character is not attacked at her vulnerable spot but is loved despite or even because of it, because at this moment her need is fulfilled. The more beats – negative, as well as positive – are experienced by the character and are in return dealt out, the stronger is the emotional bond between her and the audience. To have the greatest possible emotional effect beats need emotional resonance space. This is made possible by creating after-effect / aftermath scenes as these allow the characters to emotionally digest the just received beats.
Catharsis is the discharge of built-up emotions. It constitutes the emotional peak of the film and usually follows the climax. The catharsis is a physical reaction to the revelation / recognition as well as self-awareness of the protagonist. During the outbreak of his feelings the protagonist experiences healing or comfort, redemption or relief. The catharsis doesn’t just affect the protagonist but also the audience. Therefore the two need to be empathically linked. The cathartic’s intentioned effect is therefore to connect the protagonist and audience in a shared-affect bond in order for them to experience the emotional salvation and purification together. At this moment of emotional truth the protagonist and audience are as close as never before – ideally they are one. Psychologically speaking the catharsis is the release of fear and trauma by surfacing the unconscious.
1. Uwe na mtazamo wa kweli Hisia hazitokezwi na tabia inayotenda kwa hisia, kama inavyofikiriwa mara nyingi kimakosa. Mahitaji muhimu ya kuamsha hisia za watazamaji ni uhusiano wa hisia kati ya tabia na watazamaji. 2. Uwezekano wa kupata Vipengele vya hisia za binadamu ni mahitaji ya msingi ya binadamu kwa <unk> maelewano, usawa na haki <unk> maendeleo na utambuzi <unk> kushinda upweke na kutengwa, kuwa wa jamii <unk> maana na umuhimu Hizi zinakubaliana na mahitaji ya wahusika. 3. Uwe na mtazamo wa kweli Mahitaji ya kawaida huonyeshwa kama maadili. Wakati kukataa maadili huunda maendeleo makubwa ya matakwa miongoni mwa washiriki wa watazamaji, kutawala na kupitisha maadili huunda kutimiza matakwa. Matokeo yote mawili hutokeza hisia. Kukataa thamani hufanywa kupitia ukosefu wa haki, ukosefu wa usawa, mateso yasiyofaa, madhara bila kosa la mtu mwenyewe au upendo usio na malipo. Ushiriki wa kihisia wa watazamaji ni hamu ya kurudishwa kwa thamani. Utawala wa thamani ni kutekelezwa na wahusika na tabia wazi ambao si kuwa discouraged. Mtazamo wao huonyesha maadili ya kihisia-moyo kama vile ujasiri, kujitolea, uaminifu na nguvu kamili ya mapenzi. Wao huagiza wasikilizaji waongee kwa sababu wao hujiamini wenyewe katika kila hali na kusema ukweli usiofaa. Uhamisho wa maadili hutokea kupitia mahusiano ya kati ya watu. Maonyesho ya uaminifu-mshikamanifu, mshikamano na huruma huamsha tamaa za kihisia-moyo miongoni mwa watazamaji. Kwa kuwaacha wahusika wa uzoefu wa ukaribu na kuingia mahusiano ya kati ya watu ambayo huongezeka katika mwendo wa filamu, watazamaji ni emphatically bonded na wao. Wasikilizaji huhisi wamehusika. Kufanana kati ya wahusika, hasa katika ngazi ya mawazo, hufanya uhusiano wao kuonekana kwa watazamaji. Mabadiliko ya vitu vya kimwili na vya kimwili yanategemea mahitaji ya msingi ya kibinadamu ya ustaarabu wa pamoja na msaada wa pamoja: msaada, msaada, kutoa na kupokea, kutoa na kukubali zawadi ni maonyesho ya ushirikiano. Sifa za tabia zinazohusiana ni ukarimu, ushiriki, kujidhabihu na kutunza wengine. Tamaa ya kuwa sehemu ya jamii iko katika ngazi tofauti: katika uhusiano wa ushirika, familia, kati ya marafiki, kama mwanachama wa kikundi cha kijamii, kiadili au kitaifa. Kadiri ushirikiano wa kijamii wa mhusika ulivyo tata, ndivyo uwezo wake wa kihisia-moyo katika hadithi ulivyo mkubwa. Jambo la kuvutia katika muktadha huu ni kanuni ya malipo ya kijamii: eneo inakuwa zaidi ya kihisia-moyo wakati ni <unk>shahidi<unk> na watu wengine. Uthibitisho wa upendo wa wanandoa huonekana kuwa mkali zaidi unapofanyika mbele ya watu wengine wenye hisia-mwenzi kwa sababu hapa hisia hubebwa kwa wengine wengi na hivyo kuzidishwa. Kupitisha maadili kwa mtu mmoja au zaidi huamsha hisia. Hisia-moyo huonekana kama mapigo katika mazingira ya mandhari. Wakati beat hits tabia ya sehemu dhaifu amplitude yake ya kihisia ni nguvu zaidi: inafanya yake kufunua upande wake dhaifu, zaidi ya kuathirika na nyeti. "Hata hivyo, athari kubwa ya kihisia hutokea wakati tabia haishambuliwi katika sehemu yake dhaifu, lakini hupendwa licha ya, au hata kwa sababu ya, kwa sababu wakati huu haja yake inatimizwa. """ Beats zaidi <unk> hasi, kama vile chanya <unk> ni uzoefu na tabia na ni kwa kurudi kushughulikiwa nje, nguvu ni uhusiano wa kihisia kati yake na watazamaji. Ili kuwa na athari kubwa ya kihisia-moyo, mdundo unahitaji nafasi ya kufanana kwa kihisia-moyo. Hii inawezekana kwa kuunda matukio ya baada ya athari kama hizi kuruhusu wahusika hisia kumeng'enya beats tu kupokea. Catharsis ni kutolewa kwa hisia zilizojengwa. Ni kilele cha kihisia-moyo cha filamu na kwa kawaida hufuata kilele. Catharsis ni athari ya kimwili kwa utambuzi wa ufunuo na pia ufahamu wa kibinafsi wa mhusika mkuu. Wakati wa mlipuko wa hisia zake mhusika mkuu hupata uponyaji au faraja, ukombozi au kitulizo. Catharsis haimathiri tu mhusika mkuu bali pia watazamaji. Kwa hiyo, mambo hayo mawili yanahitaji kuunganishwa kwa hisia-mwenzi. Matokeo ya cathartic ni kuunganisha mhusika mkuu na watazamaji katika uhusiano wa hisia za pamoja ili waweze uzoefu wokovu wa kihisia na utakaso pamoja. Katika wakati huu wa ukweli wa kihisia mhusika mkuu na watazamaji ni karibu kama kamwe kabla ya <unk> bora wao ni moja. Kimsingi, catharsis ni kutolewa kwa hofu na majeraha kwa kuibua hali ya kukosa fahamu.