Search Results (7)

Film scenography often suffers from a dual problem of invisibility in academic theory and hypervisibility as mere ‘spectacle’ in popular reception. This study addresses the lack of integrated theoretical frameworks that connect scenographic design to its emotional and narrative functions. Utilizing a reception-focused analytical approach, this research applies Peter Wuss’s model of film perception to Wes Anderson’s The Grand Budapest Hotel (2014). Analyzing the broad range of the film’s scenographic methods, this article investigates how high degrees of scenographic visibility operate as affective mechanisms rather than just stylistic signatures. The analysis identifies specific epistemic qualities of film space that facilitate emotional engagement and narrative movement. By examining scenographic elements across multiple scales, this study reveals how these design choices operate simultaneously across concept-guided, perception-guided, and stereotype-guided cognitive structures. Ultimately, the research demonstrates that scenographic visibility is intrinsically motivated by affective function. This challenges conventional film theory dichotomies and repositions scenography as fundamental to understanding cinema’s epistemic operations. Full article

This practice-led research examines how virtual production represents a circular return to scenographic practice, reactivating integrated modes of spatial authorship that have long underpinned screen storytelling but were obscured by industrial fragmentation. Drawing on a single-day intensive workshop at the Australian Film, Television and Radio School (AFTRS), the study analyses how spatial authorship emerged through embodied, collaborative engagement with an LED volume environment. Grounded in scenographic theory and concepts of distributed cognition and situated authorship, the article reframes virtual production as a condition that renders pre-digital, collaborative modes of making visible within contemporary screen production. The LED volume functions simultaneously as scenic environment, lighting instrument, and compositional partner, requiring participants to negotiate space, light, movement, and camera as a unified spatial event. Analysis identifies how scenographic understanding emerged through virtual scouting, world-responsive storytelling, physical-digital integration, and embodied realisation. The findings extend production design theory by challenging ocular-centric models of mise-en-scène and positioning scenographic integration as screen practice—an epistemic mode of enacting through collective, materially grounded spatial experimentation. While situated within an educational context, the study points to broader implications for how spatial authorship and collective practice are understood in contemporary screen production. Full article

As destinations featured in films and television programs attract growing numbers of tourists, exploring the factors that sustain film tourists’ loyalty and advocacy has become increasingly important. This study explores the determinants of post-visit behaviors through the lens of cognitive appraisal theory (CAT), investigating how perceived authenticity, perceived value, and satisfaction shape revisit and word-of-mouth (WOM) intentions among 436 Chinese film tourists visiting Thailand. Data were analyzed using structural equation modeling (SEM) and fuzzy-set qualitative comparative analysis (fsQCA) to capture both symmetrical and configurational effects. The SEM results reveal that perceived authenticity, perceived value, and satisfaction significantly enhance WOM intentions. The complementary fsQCA findings reveal multiple causal pathways leading to high revisit and WOM intentions. The study advances theoretical understanding by demonstrating the applicability of CAT to film tourism and showing how tourists’ cognitive evaluations and emotional appraisals jointly shape their post-visit behavioral intentions. The findings also offer practical guidance for developing authenticity-based strategies to foster loyalty and positive destination advocacy. Full article

The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this article, I will offer an alternative account of film aesthetics that draws on Jacques Rancière’s theory concerning the mutually determining relationship between aesthetics and politics. In particular, I will consider the relevance of Rancière’s thesis concerning what he calls the distribution of sensible to current accounts, as well as taking up his novel consideration of aesthetic distance and the “emancipated” spectator. With respect to film phenomenology, I will examine how its film-theoretical program rests on the flawed concept of a de-politicized spectator enchained by the film image. With respect to post-theory, I will examine how its appropriation from cognitive science of the rational agent model of meaning making inappropriately limits the political potential of film aesthetics. Full article

Contemporary educators have increasingly recognised the diversity of their student population and, hence, have attempted to use multimodal teaching methods for additional student learning benefits. One popular example is repurposing film and TV content for higher education pedagogies. However, integrating these materials into teaching effectively often proves more complex than lecturers might anticipate. This entry investigates the merits and challenges of using FF/TV in teaching to determine the factors that impact development of an effective FF/TV pedagogy for student learning, through an interdisciplinary review of the existing literature, followed by a qualitative survey and semi-structured interviews with lecturers across disciplines at Australian universities. Using visual literacy theory, cognitive load theory, and dual coding theory, data analysis reveals that the pros and cons of integrating film and TV in teaching are in fact interconnected, and the main role of the teacher is to pedagogically balance them. Evidence-based and theory-grounded suggestions for application are detailed throughout the discussions. Full article

Research and personal experience affirm that watching a movie can change the way someone lives their life. Documentary storytelling is a multidimensional change agent, a digital media artifact that is rooted in real communities, real lives, and real stories. Because documentary is rooted in the human social world, watching it is a cognitively, psychologically, emotionally, socially, and politically complicated act. Thus, it is a potent medium for stimulating discourse, reflection, and behavioral change. This article explores the power of visual storytelling and positive media representation as a Parasocial-Relational form of interreligious dialogue and delves into practical application as it contemplates best practices for how filmmakers might harness that power, reviewing literature on the possible social, cognitive, and neurobiological impact of documentary. This interdisciplinary cognitive-sociological theory of change posits documentary film as a lever for increased interreligious competence because of its unique ability to disarm with visual storytelling and engaging characters, leading to a potentially reflexive experience of humanization and perceptual shift. Full article

This paper introduces a cognitive psychological experiment that was conducted to analyze how traditional film editing methods and the application of cognitive event segmentation theory perform in virtual reality (VR). Thirty volunteers were recruited and asked to watch a series of short VR videos designed in three dimensions: time, action (characters), and space. Electroencephalograms (EEG) were recorded simultaneously during their participation. Subjective results show that any of the editing methods used would lead to an increased load and reduced immersion. Furthermore, the cognition of event segmentation theory also plays an instructive role in VR editing, with differences mainly focusing on frontal, parietal, and central regions. On this basis, visual evoked potential (VEP) analysis was performed, and the standardized low-resolution brain electromagnetic tomography algorithm (sLORETA) traceability method was used to analyze the data. The results of the VEP analysis suggest that shearing usually elicits a late event-related potential component, while the sources of VEP are mainly the frontal and parietal lobes. The insights derived from this work can be used as guidance for VR content creation, allowing VR image editing to reveal greater richness and unique beauty. Full article