Mad Max Storm

At our first meeting in June we talked about how the filmmakers were changing over the years, how moviegoers draw viewers to the movies and keep their eyes on the screen. Alfred Hitchcock used to claim that "the movie is bad when anyone in the audience can look away from the screen for a moment." Many directors treat the masterpiece very literally.

 

From the point of view of psychology, filmmakers can keep the viewer's eyes in two ways, influencing his or her attention involuntarily or by any stimulus or story. In the first case it is not difficult to see the information overload due to contact with too fast or chaotic assembly.  But directors such as George Miller show that even in the galloping entertainment cinema, the viewer can save it. For example, taking into account the preferences of his visual system at the stage of film production. And this story we already know.

However, the director who wants to keep our attention for longer must have something else. The most effective tool turns out to be suspens. Its essence with the words: "This suspense is terrible. I hope it continues "Oscar Wilde apologized aptly. Director Gus van Sant suspense effect is basically seen as "we know something will happen but we do not know when". Hitchcock's success in using suspense has attributed his own fear of personality, claiming that a man without fear would not be able to make a good movie with suspense. At the next meeting (8.11) we will confront the approach of the directors with a psychological perspective. We will look at the film and cognitive component of suspense. We will find out what suspens is doing to the viewer and how it is used in the cinema. On the next (22.11) we will focus on the memory of the film viewer, the factors that favor the memorization of film content, and the role of the media in the production of the so-called. false memories.

The workshop will be led by Jolanta Pisarek.