Producing kinaesthetic empathy in an audience is not guaranteed in with ‘Rocky I’ or ‘Footloose’, embodied responses of audience are varied. Reasons and Reynolds suggest that kinaesthetics ought to be considered as plural rather than singular, different members of the audience are likely to have different responses and reactions based on their personal background and experiences (Reason and Reynolds, ) While they consider this specifically in relation to dance, these varied responses could be extended to sports films such as ‘Rocky I’. In some cases a film will not promote embodied viewership, but rather, disembodied viewership caused by some kind of disconnect between the spectator and the spectacle on screen. They continue by discussing
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Alain Berthoz, a neurophysiologist highlights the idea that embodied anticipations and kinaesthetic empathy and relates to changes in the postural condition of the audience without actual muscular movement, a form of ‘inner-mimicry’ and positive, primordial response. Once again this aspect of producing kinaesthetic empathy can be understood as an embodied response to both the dance and sport film. Identifying and individuating the emotional responses of the audience are intrinsically tied to their cognitive elements. Their mental engagement involves not only physical perturbations but “beliefs and thoughts, about the properties of objects and situations” (Carroll, 26). In comparison to any other medium of human communication, the moving picture is “sensuously and sensibly manifest as the expression of experience by experience” (Sobchack, …show more content…
Both performance in ‘Footloose’ and displays of athleticism in ‘Rocky I’ fit neatly into the diegesis of the films in which they belong. In comparison to a horror film, which tends to elicit an ‘embodied’ frightened response, the sport and dance film, ‘Rocky I’ and ‘Footloose’ create responses that could be replicated in a ‘real world’ situation. These kinds of narrative films make a “fictional pact” with their audience, wherein the on-screen events are acknowledged as being far from real yet they are still realistic; the bodies represented, the dancer and the athlete, appear as human the images presented in the film are photographs and the actions performed within these sequences are physically plausible, and could be interpreted the same way in the real world by the spectator (D’Aloia, 103). In ‘Footloose’, actors are playing dancers specifically, in contrast to musicals where each individual is a dancer, ordinarily, similarly in ‘Rocky I’, each athlete is an athlete in the film. In the final dance scene of ‘Footloose’ and the fight scene between Rocky Balboa and Apollo Creed, sound design is used to create empathy among the audience, there is no music initially and just the sounds of the environment and the people within the scene. These parts transcend the environment of the film, through replicating a live performance and bringing the audience
Alain Berthoz, a neurophysiologist highlights the idea that embodied anticipations and kinaesthetic empathy and relates to changes in the postural condition of the audience without actual muscular movement, a form of ‘inner-mimicry’ and positive, primordial response. Once again this aspect of producing kinaesthetic empathy can be understood as an embodied response to both the dance and sport film. Identifying and individuating the emotional responses of the audience are intrinsically tied to their cognitive elements. Their mental engagement involves not only physical perturbations but “beliefs and thoughts, about the properties of objects and situations” (Carroll, 26). In comparison to any other medium of human communication, the moving picture is “sensuously and sensibly manifest as the expression of experience by experience” (Sobchack, …show more content…
Both performance in ‘Footloose’ and displays of athleticism in ‘Rocky I’ fit neatly into the diegesis of the films in which they belong. In comparison to a horror film, which tends to elicit an ‘embodied’ frightened response, the sport and dance film, ‘Rocky I’ and ‘Footloose’ create responses that could be replicated in a ‘real world’ situation. These kinds of narrative films make a “fictional pact” with their audience, wherein the on-screen events are acknowledged as being far from real yet they are still realistic; the bodies represented, the dancer and the athlete, appear as human the images presented in the film are photographs and the actions performed within these sequences are physically plausible, and could be interpreted the same way in the real world by the spectator (D’Aloia, 103). In ‘Footloose’, actors are playing dancers specifically, in contrast to musicals where each individual is a dancer, ordinarily, similarly in ‘Rocky I’, each athlete is an athlete in the film. In the final dance scene of ‘Footloose’ and the fight scene between Rocky Balboa and Apollo Creed, sound design is used to create empathy among the audience, there is no music initially and just the sounds of the environment and the people within the scene. These parts transcend the environment of the film, through replicating a live performance and bringing the audience