Ever since the Parisian spectators at the Grand Café ran away terrified at the sight of the train that approached La Ciotat station, it has been clear that cinema is an emotion-generating machine. In fact, to narrate is always to produce emotions. Munsterberg, one of the pioneers of film theory, saw this as early as 1916: ‘Picturing emotions must be the central aim of the photoplay’ (Münsterberg 48). Even that early in the history of film, he was already conscious of how emotions affected spectators: ‘On the one hand we have those emotions in which the feelings of the persons in the play are transmitted to our own soul. On the other hand, we find feelings which may be entirely different, perhaps exactly opposite to those which the figures in the play express’ (53).
KeywordsPopular Culture Collective Identity Moral Emotion Conscious Mental State Ideological State Apparatus
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