What have been some of the key distinctions in how Film and TV Studies have analysed the audience(s) for film, as opposed to the audience(s) for television?
Introduction
The research proposal has to be realized in practical terms in the context of the particular area of investigation selected i.e. understanding the influence of contextual factors on the behaviour of the audience in films. Furthermore, it is essential to determine the practical implications that can be related to the screening of films in different environments and platforms alongside the disparities in the perception of the content and genre of films(Bennett, 2013).
The following research essay would obtain a particular categorization of the different analytical approaches that can help ascertain the issues which are observed in contemporary film spectatorship. Other essential inferences that can be highlighted in the research essay refer to the idea of identification to improve potential reflection on the relationship between films and viewers (Mulvey, 1999).
The essay also focuses on the demonstration of identifying audiences and their behaviour through the study of the film and TV genres followed by them. Furthermore, the critical reflection on film audience behaviour from the perspective of empirical research outcomes could be used to address the specific research objective of identifying the factors responsible for changes in audience behaviour especially referring to the issues in audience research(Filmreference, 2017). The disparities among the perception of film audience and TV audience in actual contexts as compared to those identified in literature and research outcomes also serve as formidable inputs to determine the issues that can deter audience behaviour research.
Observation
The observation of conclusive references to films such as Dressed to Kill and Cinema Paradiso can be used to describe the issues related to film, spectatorship and gender. These films have to be analyzed concerning the illustration of facts in the essay of Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ to determine the nature of audience viewership and factors influencing the same. Dressed to Kill depicts the slasher genre with the main concept revolving around the mysterious blonde tall woman responsible for the murder of another woman (Mulvey, 1999).
The film depicts the killer as a tall blonde woman and is also reflective of the comparative differences related to gender identity in a single individual. Gender identification in movies is accounted as a formidable contributor to the formation of viable interpretations that lead to understanding the rationale for changes in viewership interests. In her essay, Laura Mulvey depicted the representation of different genders in films which comprised of references to the depiction of women as a symbol of lack of phallus, an indicator of a castration complex and an object of eroticism (Mulvey, 1999).
The essay reflected on the traditional representation of women as objects of mystery and sexual objectification of women which could be contradicted in the case of the film Dressed to Kill by Brian De Palma. The references to voyeurism and gazing spectatorship are noticed in one of the film’s scenes where the male and female characters are stalking each other in a public space wherein the spectators are also likely to relate to the infidelity committed by the female character based on her characterization as an object of desire. Similarly, in the case of Cinema Paradiso, it can be observed that the protagonist, Salvatore, pursues a woman Elena who is depicted as the symbol of affluence while the protagonist depicts the ordinary. Here the case of identification factors could be observed profoundly since the audience’s perception of the individual identities in the narrative of the cinema was dependent on the visual presentation of the characters(Hariman&Lucaites, 2016).
The examples of cinematic censorship implemented in the screening of the films in the movie itself that led to unrest among the viewers were also illustrated profoundly in the essay that defines the representation of women as a specific object of the gaze of the masculine character. These factors also represent that the audience in attendance of the movie requires the fulfilment of voyeuristic pleasures to relate with the context of the film alongside perceiving the film from a positive dimension (Mulvey, 1999). The gaze of a man is invited by the image of the woman which is also accounted as an influential layer in the realization of an illusionistic narrative film. The consideration of voyeuristic and fetishism implications as interacting layers concerning the film has to be accompanied by references to the realization of perfect contradiction in film since cinema is capable of shifting the emphasis of the look(Pirkis et al., 2005).
The case of Dressed to Kill can invoke variable changes in the perception of the woman as a victim or the killer’s specific psychological problem of multiple identities. On one hand, many viewers are likely to perceive that the victim was responsible for committing adultery and thereby she deserved the punishment in the form of the gruesome murder committed by the killer. On the other hand, some audiences may sympathise with the condition of Dr Elliot, the antagonist, based on his illness and legible refraining from the sexual advances made by the victim. In this case, the audience is hooked on the perception of the victim and the exterior representation of the tall blonde woman as a suspect is reflective of possible indications towards audience perception directed by the appearance of the subject on the film screen(Rutherford &Bittman, 2007).
Thereafter the gaze of the police investigator on the prostitute who is the witness for the crime is also synonymous with the certain audience at that particular instance wherein the rationale of the character on screen i.e. the police officer and the audience are more likely to become synonymous (Mulvey, 1999). This can be validated on the grounds of the representation of the character from the perspective of the police officer as a prostitute and thereby possible involvement in the murder. In such cases, the action of the male character defined the identity of the female character which is often perceived as the driving factor for changes in audience behaviour.
The reflection on the cases of Cinema Paradiso and Dressed to Kill concerning the elements of spectatorship, gender and film variations suggests the prominence of gender stereotypes and psychoanalytic changes in the context of the audience behaviour in films.
Significance of identification:
Film and TV have a distinct impact on the psychology of an individual from the preparatory stages. Watching films is not just associated with the elements of recreation and entertainment but also with the objectives of fandom and community representation of specific film and TV genres. The role of identification has been profoundly noted as a significant attribute in improving the relationship between film and audience. The formation of identification processes is related to the action of ego libido formations leading to increased viewership (Brianair. WordPress, 2017).
The use of identification has been prominently noted in film literature to be associated with the works of Hitchcock. Identification is helpful for the alignment of the viewer’s perspective with that of the protagonist in the film. Generally, the protagonist acts as a depiction of the tension and contradictions experienced by the viewer thereby enforcing a sense of similarity with the male hero among viewers. The process of identification refers to the depiction of ideological correctness that also reflects on the insufficiencies of the viewers which they feel to be corrected by the male character on screen.
Identification in the context of films is also indicative of the prospects for recognition of established morality and could also be used to draw explicit references to the perverted facet of the character. For example, the implications of changes in the perception of viewers about a specific character that implies an awkward gaze on a female character could be aligned with identification based on ideological correctness. Since ideological correctness acts as a transparent barrier to true perversion, the audience of films could also share the uneasy gaze of the male character thereby identifying with the film explicitly which also indicates profound references to the changes in audience behaviour(Rutherford &Bittman, 2007).
Furthermore, the impact of identification on viewers could also be related to the profound implications of realizing the alignment of the voyeuristic attitude of on-screen characters has been noted in the examples of films Hitchcock such as Rear Window where the gaze of the lead character Jeffries serves as the benchmark for identification of the other characters(Pirkis et al., 2005). The perspective of the character with which the viewers can identify leads to the proliferation of distinct rationale among viewers to be associated with the specific genre. Generally, identification in the case of films is realized especially with the male characters that are embodied as representations of power, law and order.
Therefore their unjust actions are also perceived from a reasonable perspective by viewers thereby leading to prominent fandom for the specific character as has been observed in the highlighting of iconic characters from films that were not the lead protagonists or antagonists. One of the prominent examples of such a role with which the audience was able to identify refers to Alfredo, one of the supporting characters in Cinema Paradiso that were notably accepted by viewers as a father figure for the protagonist, Salvatore. The realization of identification outcomes could be validated by the makers of film through the subjective use of camera and focus on the gaze of the protagonist (Brianair. WordPress, 2017).
The representation of the film from the perspective of a specific character using the camera from subjective points of view leads to the conformation of the audience with the traits and advances of the character as well as relating to the activities of the character on screen. Therefore, identification could be perceived as a noticeable contributor to the association of viewers with a film for a long period thereby implying positive relationships between the audience and the film.
Effect of the genre on the audience:
The consideration of the example of Mean Girls and Sweet Home Alabama can be used for illustrating the perception of audiences based on an analysis of the film genre. The genre of the two films refers to comedy and romance for the latter while Mean Girls could be classified as a teen comedy film. The study of the genre of the two films reflects on the possible characteristics of the viewers. The probability of a feminine side is more likely to be observed in the audience with a liberal view of social issues. The viewers are more likely to identify with the contextual factors in the film rather than emphasizing the visual representation of the characters.
The emphasis of viewers of films in the comedy genre is supposed to be vested in the importance of other screen elements such as foliage, artwork etc. to develop a basic impression of the context in which the story of the film progresses. Romance could be associated with a certain bit of eroticism and viewers of the genre are supposed to possess an inclination for different forms of identification (Laberge, Brooker& Jermyn, 2005). Male viewers are more likely to identify with the male protagonist pursuing his love interest thereby serving as an indicator of audience behaviour changes according to the perspective of the male protagonist in the movie.
Female viewers could opt for identifying with the female protagonist by relating to their personal experiences. Another profound characteristic that can be noted in the case of the romance and comedy genre is indicative of the profound fandom noticed in the female population. Therefore it can be cognizably observed that the study of film and TV genres can depict profound aspects of viewers of the specific genre.
Critical analysis:
The observation of the empirical research outcomes in the context of the research objective highlighted in the proposal to identify the factors that influence audience behaviour should be collated with a critical analysis of film audience behaviour. The critical analysis is intended to provide a comprehensive illustration of the comprehensiveness required for addressing the research outcomes about the area of investigation i.e. issues in spectatorship and audience research. As per Mulvey, the analysis of the specific implications drawn in a critical review of audience research refers to its significance in the modern film industry for the prospects of increasing revenue (Mulvey, 1999).
Therefore audience behaviour can be assumed as a formidable determinant of the content of mainstream cinema. Furthermore, it could also be observed that audience research accounts for complex apparatus to address the requirements of identifying the characteristic changes in the behaviour of a mass audience. The response of viewers to specific segments of a film or the complete film can be considered the foremost outcome of audience research which cannot be ascertained particularly from the sole implementation of psychoanalytic frameworks. Some of the notable elements which are used in audience research other than that qualitative and quantitative research refer to the analysis of psychographics and demographic characteristics of an audience group or community.
However, the critique for demographics has been observed due to the superficial nature of the outcomes of demographic analysis revealing the breakdown of the audience based on the working population which comprises single earning members of the family wherein the younger population is excluded from the audience research perspective.
According to Southerncrossreview, the implementation of the cross-cultural consumer characterization in the context of the desired outcomes of classifying audiences according to societal position and status suggests a plausible determinant of film audience behaviour (Southerncrossreview, 2017). The difference in social status leads to different tastes in film and TV content thereby providing an impression of possible spectatorship for a film project from distinct sections of society. The classification of audience behaviour according to the use of Maslow’s hierarchy of needs can be validated as an essential psychographic approach.
As per Maxfield, the critical approach for analysis used in the empirical research also invites references to theories about audience research such as the passive audience model, hypodermic model, two-step flow theory, uses and gratification model, active audience model and two-step flow theory. These models are capable of presenting the issues in spectatorship and audience research precisely through the inferences to insufficient research outcomes. The passive audience model suggests the impression of customer behaviour as inert and irresponsive to the content depicted in media i.e. film and TV (Maxfield, 2003).
Hence the behaviour of such an audience could be considered as hypodermic as such an audience can be fed with particular ideas thereby causing the mass perception of a film according to the enforced idea. Cultivation theory suggests the changes in film audience behaviour through continuous exposure to specific film and media content which can be observed in examples of audiences familiar with a viewership of violence-based content in films and television that are irresponsive to the depiction of violence in film. The two-step flow theory indicates another critical gap in film audience behaviour suggesting the dependence of viewer’s behaviour on the interpretation of film content by opinion leaders.
Conclusion
Reflection on literature related to audience behaviour also emphasizes on active audience model which indicates the interactive relation of the audience with the communication process thereby realizing the independent changes in behaviour according to the disparities in experiences, values, ideas and attitudes. On the contrary, the research outcomes also present substantial similarity with the uses and gratification model for the representation of film audience behaviour. The necessity of personal identity as perceived from the viewpoint of the characters in the film is a formidable aspect that can be drawn in the context of film audience behaviour since it defines the scope of identification that has been noted as an outcome of empirical research.
References
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Pirkis, J., Blood, R.W., Francis, C. and McCallum, K., 2005. A review of the literature regarding film and television drama portrayals of suicide.Program Evaluation Unit, The University of Melbourne.
Rutherford, L. and Bittman, M., 2007. Media and communications in Australian families 2007.Melbourne: Australian Communications and Media Authority.
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