To analyse the way kinesthetic empathy is experienced, it is important to consider at the kind of movement displayed on screen, in the first instance boxing and dance are different kinds of movement, although they both require training and precision. Landay in her article ‘The Mirror of Performance . . .” argues that humans make sense of the world they inhabit through their bodies, therefore what the audiences see performed reflects this, through kinaesthetic empathy. The spatial and psychological space of the cinema auditorium encourages both emotional and motor participation, specifically in relation to the main characters,despite an awareness of the fictional nature of events within the film (Reading, 93). When Ren expresses anger and experiences
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As Jones puts forward, the performance numbers in dance will have a relatively realistic plot motivation, the use of familiar thematic, visual and narrative aspects seen in dance and sports film encourages the ‘believability’ of the performance (Jones, 2). Rocky’s training sequence aligns with the ‘Angry dance’ scene in ‘Footloose’ in the way that the action in both films is placed there to progress the natural narrative on some way. Rocky’s training becomes very similar to a dance sequence because it depicts a kind of choreographed movement to music, that music being a triumphant motif that come to represent the character. The difference being that in ‘Rocky I’ the movement represented occurs across a number of days rather than in a moment. The viewer could be disembodied in that sense, as the ‘Footloose’ scene depicts a particular emotion to diegetic (Ren in the film plays a cassette tape) music, ‘Rocky I’ on the other hand depicts a process over more time, training and learning the skills of an experienced boxer, hard work that is then depicted in the final fights with music that is included in non-diegetically. Kinaesthetic experience as being enhanced by music and taste comes into play, the mood and tempo of music can encourage the viewer’s desire to join in again relying on an immediate, positive, primordial. Music is used in both dance and sports film to help frame the responses of audiences whether one enjoys the music or not can affect the ability to experience kinaesthetic empathy (Dee and Reynolds,
As Jones puts forward, the performance numbers in dance will have a relatively realistic plot motivation, the use of familiar thematic, visual and narrative aspects seen in dance and sports film encourages the ‘believability’ of the performance (Jones, 2). Rocky’s training sequence aligns with the ‘Angry dance’ scene in ‘Footloose’ in the way that the action in both films is placed there to progress the natural narrative on some way. Rocky’s training becomes very similar to a dance sequence because it depicts a kind of choreographed movement to music, that music being a triumphant motif that come to represent the character. The difference being that in ‘Rocky I’ the movement represented occurs across a number of days rather than in a moment. The viewer could be disembodied in that sense, as the ‘Footloose’ scene depicts a particular emotion to diegetic (Ren in the film plays a cassette tape) music, ‘Rocky I’ on the other hand depicts a process over more time, training and learning the skills of an experienced boxer, hard work that is then depicted in the final fights with music that is included in non-diegetically. Kinaesthetic experience as being enhanced by music and taste comes into play, the mood and tempo of music can encourage the viewer’s desire to join in again relying on an immediate, positive, primordial. Music is used in both dance and sports film to help frame the responses of audiences whether one enjoys the music or not can affect the ability to experience kinaesthetic empathy (Dee and Reynolds,