This research seeks to develop an empirically relevant model of the film communication process, with particular attention to the ways authors use film media to convey messages to an audience. Prior research from both film and communication disciplines is examined and critiqued, with particular attention to the limitations of Worth’s model of film communication. A new model of film communication is advanced from a developmental-interactionist perspective, labeling film communication as containing channels of comprehension (cognitive) and empathy (emotional,) with an integrative attitude dimension. An experiment is then conducted to examine the effects of group interpretation on the posed dimensions of film communication. Results identify group interpretation as increasing comprehension while decreasing both empathy and attitude dimensions. A fundamental link between empathy and attitude is also identified, suggesting a key role of emotional synchrony between creators and viewers in film communication. Download: PDF
Traditional film theorists have espoused the value of conventional framings and approaches to cinematography in filmmaking, with only limited empirical evidence to support such conventions. Using the developmental-interactionist theory of film communication (Stifano, 2008a; Buck, 1984; Buck & Van Lear, 2002) this research examines the effect of conventional vs. rule-violating framings on film media. Using an experimental design, participants viewed a short film using either conventional or intentionally distorted, rule-violating framings. Results suggest individuals showed no significant difference between rule-violating framings and traditional framings on levels of film comprehension, director-viewer empathy, and attitude towards film, with the unconventional version being favored across all dimensions. Issues of individual differences in dramatic film media and attempts to identify specific patterns of film communication are also discussed. Download: PDF
Ample research has evidenced lateral differences in the expression and perception of emotion in the human face. Whether these lateral differences are caused or enhanced by posed (versus spontaneous) displays of emotion has been addressed with conflicting results. The realm of dramatic film media offers a unique perspective on this matter, with a wide variety of emotions exhibited both by classical actors that pose their intended emotions, and by method actors that experience their intended emotions. This study seeks to examine the facial differences among classical and method actors when exhibiting the primary affects in film. 281 participants evaluated 24 facial composites (consisting of either left/mirror-left faces, or right/mirror-right faces, dependent upon experimental condition) on each of the primary affects. It was hypothesized that method actors would better communicate the intended emotion in the right-right condition, and that classical actors would better communicate the intended emotion in the left-left condition, and support was identified for each. Additional findings examine minimal effects of emotional valence and receiver sex on facial evaluations. Limitations, future pursuits, and ramifications for this research (both within and beyond film communication) are discussed. Download: PDF
