1. A Consideration of Film and Presence
Kimberly A. Neuendorf, Ph.D.
Communication Research Center
Cleveland State University
April 1, 2004
Central States Communication Association

2. --Martin Scorsese, Film director
“From the opening titles I was mesmerized. The bright blasts of deliriously vibrant color, the gunshots, the savage intensity of the music, the burning sun, the overt sexuality. . . the hallucinatory quality of the imagery has never weakened for me over the years.”
--Martin Scorsese, Film director
CSCA 2004—Neuendorf
Film & Presence

3. Film’s Development
Edison’s choice of the kinetoscope—a mistake? (Bohn & Stromgren with Johnson, 1975)
The Magic Lantern legacy (website)
The irony of Muybridge—anti-presence?
CSCA 2004—Neuendorf
Film & Presence

4. Form vs. Content Neuendorf, 2002; Huston & Wright, 1983
Content—survives the “translation” from medium to medium
Form—aspects and characteristics specific to the medium
Ellis (1990, p. 7)—“It is entirely possible that the art of the motion picture might have died stillborn, along with its capacity for entertainment, if the story ingredient hadn’t been added.”
FORM seems linked to physical presence; CONTENT to social presence (although not a perfect correspondence)
CSCA 2004—Neuendorf
Film & Presence

5. Film Form & (Physical) Presence
#1--Sensory Bandwidth
#2--“Invisible Editing”
#3--Group Viewing Context
CSCA 2004—Neuendorf
Film & Presence

6. Form #1: Sensory Bandwidth
Sensory engagement attempts
From Magic Lantern to “4D”
William Castle—e.g., Aromarama, Percept-O
McLuhanesque (Jowett, 1986)
Large (& wide) screen
Color (Burge, 1969; Denny, 2004)
Resolution (I.e., film size)
CSCA 2004—Neuendorf
Film & Presence

7. Form #2: “Invisible Editing”
Classical Hollywood convention aimed at reducing viewer/diegesis distance
Marsh (2003) notes its importance
Dogme 95 (Lars von Trier et al.) and its new “primitivism”
CSCA 2004—Neuendorf
Film & Presence

8. FORM #3: Group Viewing Context
Increase or decrease in physical presence?
Perhaps an increase in “audience” presence
CSCA 2004—Neuendorf
Film & Presence

9. Film Content & (Social) Presence
#1—Congruity between diegesis & real life
e.g., Boyanowsky 1974; 1977
#2—Encapsulated Narrative
#3—Willing Suspension of Disbelief
e.g., Bozzuto, 1975
#4—Uses & Gratifications
e.g., Palmgreen et al., 1988
CSCA 2004—Neuendorf
Film & Presence

10. Beyond Form & Content: The “3 V’s” (The Audience’s Approach to Viewing)
Marsh (2003) borrows Boorstin’s (1995) notion of three ways of watching film:
Voyeuristic
Visceral
Vicarious
CSCA 2004—Neuendorf
Film & Presence

11. Early Film Examples (from Marsh, 2003)
Voyeuristic: Actualities (e.g., Lumieres)
Visceral: “Cinema of Attractions” (e.g., Melies)
Vicarious Narrative form (e.g., Hepworth, Porter, Griffith)
CSCA 2004—Neuendorf
Film & Presence

12. Future Research Initiatives
Invisible Editing vs. Contemporary Styles
Color vs. Black & White
CSCA 2004—Neuendorf
Film & Presence