SPECTATORSHIP

Joseph Anderson - Film Theorist
- We all have individual interpretations and judgements
"Making sense of the film is significantly the same as making sens of the real world"


Stuart Hall - Film Theorist
- Developed the theory or "Reception Theory" 1960s
- The first time that people analysing film started to look at the way the text is recieved rather than the text itself.
- The text has put in various ideologies about the film
- The audience all accept it in different ways depending on their backgrounds

The Three Main Readings:

• Preferred Readings - The spectator goes in with an intended meaning of the film and agrees with all the messages. 

• Negotiated Reading - Spectator agrees with most of the messages but disagrees with some aspects. 
  
  
• Oppositional Reading - The viewer does not identify with the meaning at all and comes up with an alternate meaning to the film.

How the text is acknowledged from the audience as opposed to the text itself:

Film is about desire

- An intellectually demanding film
- A provocative film (controversy)
- One which is throw away, spectacular fun

-  "Kids" (1995) is an example of a provocative film

- The film focuses on the life of a group of teens as they travel around New York City skating, drinking, smoking, and deflowering virgins. Which prohibited when it comes to contemporary cinema, especially if it is from the 90's.

- The intimacy elements of this film are explicitly presented, intending to get a reaction from the audience. As well as the drinking and smoking scenes, that are presented to be consumed by young kids. 

Central Imagining: 

FEELINGS

> Creates an emotional response

> This is translated to the spectator by the director (textual)

> Feeling the character's pain

MICRO = Mise-en-scene, cinematography, sound and editing 

A-Central Imagining:

> The difference is we feel less, but imagine more

> It is an emotional response, rather than a physical response