Most helpful critical review
24 of 36 people found the following review helpful
Correction of a mistake
on August 18, 2009
Glebas says, "Altan Loker in his book Film and Suspense states to create suspenseful anxiety we need to activate cinematic wishes, experienced vicariously by the character, for sex, success, and spectacle . . ." This is the exact opposite of what I wrote.
Here is what the dictionary says about vicarious: "Experienced or realized through imaginative or sympathetic participation in the experience of another." I wrote that this is how people explain their emotions induced by the story but that this is a misconception and even a defense mechanism that serves to hide the real source of the spectator's emotions.
I wrote that the real source of the spectator's emotions is his or her own experience, not empathy or sympathy for fictive story characters. The spectator is moved by his or her real wishes related to the fictive story events and by the story events that occur as he or she wished. This makes the spectator feel responsible for what happened in the story and thus makes him or her a character of the story. Consequently, he or she sees the story evebts as real happenings.
The main problem in story telling is to make fictive events look as real events that are happening while the spectator watches or reads about them. The easy and direct way of doing this is to present to the spectator what he or she wishes and likes to see. This is what everyone knows. I called such wishes cinematic wishes and grouped them under three rubrics: sex, success, and spectacle.
What only the masters of drama know is that showing to the spectator what he or she likes to see is not sufficient to make fictive story events look like real. And when the story events don't look real, they don't provide sufficient pleasure and can even become boring. The solution of this problem is to make the spectator feel responsible for the story events as explained above. Many techniques are used to realize this, and when this is realized, the spectator can experience emotions even vicariously because the story events will look like real happenings.
The reader can profit from reading Glebas's book keeping in view the correction made above.
Altan Loker, author of the book "Film and Suspense."