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According to Event Segmentation Theory (EST), [25] the perception of event boundaries is a side effect of prediction during ongoing perception. Prediction is an adaptive mechanism made up of cognitive event models that represent "what is going on now" to create expectations and attentive biases for ongoing processing.
Although four-quadrant movies are generally family-friendly, this is not a requirement. [3] Titanic, which was the highest-grossing film ever following its theatrical run, has been cited as a strong example of a four-quadrant movie that blended action and romance in a historical setting to appeal to all four quadrants. [4]
Audience theory offers explanations of how people encounter media, how they use it, and how it affects them. Although the concept of an audience predates modern media, [1] most audience theory is concerned with people’s relationship to various forms of media. There is no single theory of audience, but a range of explanatory frameworks.
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
During the early 20th century, developing mass media technologies, such as radio and film, were credited with an almost irresistible power to mold an audience's beliefs, cognition, and behaviors according to the communicators' will. [17] [18] The basic assumption of strong media effects theory was that audiences were passive and homogeneous.
Media psychology is a branch of psychology that focuses on the interactions between human behavior, media, and technology. Media psychology is not limited to mass media or media content; it includes all forms of mediated communication and media technology-related behaviors, such as the use, design, impact, and sharing behaviors.
For example, a film may be received as a comedy by some viewers, while others might perceive it as a tragedy, depending on their own experiences and cultural backgrounds. Reception theory further highlights the complex nature of media consumption, as audiences are not passive recipients but active participants in the construction of meaning.
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s.