The Effect of Film Frame Series on Viewer’s Reflective Processes (In the Crossroad of Art, Epistemology and Psychology)
Keywords:reflection processes, series of shots, editing structure, film effect, meaningful structure of shot series, editing, perception process
What kind of a toolkit should be used and how in order to have impact on the viewer’s reflective processes as well as guide such processes through a film? The author of this article explicates the idea that editing arrangement of shots (frames) series is essential in this aspect. He believes that the full effect and precision of what you want to say is conditioned by the meaningful structure of the series of shots (frames). The latter is achieved as a result of well-thought-out editing. The analysis, hypotheses, and statements presented in the article are subject to further detailed study, particularly from the perspective of general psychology and epistemology. However, it is beyond any doubt that specific succession of shots is forming a contextual and implicative information environment enabling to guide the audience’s perception process, thus affecting person’s contemplation processes and emotional state.
Eisenstein, S., (2002). Psikhoologicheskie voprosy iskusstva (Psychological Questions of Art, in Russian). Moscow: Smysl.
Florea, M., (2016). History of the 25th Frame. The Subliminal Message. Communication and Globalization, 6(3), 261-266. Retrieved March 1, 2019, from: http://www.ijcr.eu/articole/330_07%20Maria%20FLOREA.pdf.
Korbut, K. P., (2005). Psikhoanaliz o kino i kino o psikhoanalize (Psychoanalysis about Cinema and Cinema about Psychoanalysis, in Russian). Zhurnal Prakticheskoi Psikhologii i Psikhoanaliza, 2. Retrieved February 3, 2019, from: http://psyjournal.ru/articles/psihoanaliz-o-kino-i-kino-o-psihoanalize
Nalchajyan, A. A. (1997). Hogebanut’yan himunqner (Basics of Psychology, in Armenian). Yerevan: Hogeban.
Peleshyan, A. А. (1988). Moe kino (My Film, in Russian). Retrieved March 5, 201, from: http://www.kinozapiski.ru/ru/ print/sendvalues/853/.
Sokolov, A. G. (2005). Montazh. Televidenie, kino, video (Editing. Television, Cinema, Video, in Russian), Vol. I. Moscow: Uchebnik.
Yanovskiy, M. (2014). Psikhologicheskoe vozdeistvie montazhnikh postroenii v kinovideoryade (Psychological Impact of Film Shot Series in Film and Video Sequence, in Russian). Pen-zenskii psikhologicheskii vestnik, 2(3), 58-83. Retrieved January 8, 2019 from: https://cyberleninka.ru/article/v/psihologicheskoe-vozdeystvie-montazhnyh-postroeniy-v-kinovideoryade.
Zhinkin, N. I. (1971). Psikhologiya kinovospriyatiya (Psychology of Film Perception, in Russian). Kinematograf segodnya (Cinematograph Today, in Russian), 214-254. Moscow: Iskusstvo.
How to Cite
Creative Commons Attribution-Non-Commercial (CC BY-NC). CC BY-NC allows users to copy and distribute the article, provided this is not done for commercial purposes. The users may adapt – remix, transform, and build upon the material giving appropriate credit, providing a link to the license. The full details of the license are available at https://creativecommons.org/licenses/by-nc/4.0/.