By: Alejandro Sanchez, Psy.D., Provisional Psychologist Licensee.

Welcome back to our blog series on the profound influence of film on our cognition and emotions. In our previous entry, we delved into the captivating neurological underpinnings of movie-watching, uncovering the intricate workings of our minds when immersed in cinematic experiences. Today, we embark on the next chapter of our exploration, shifting our gaze to the fascinating intersection of social and emotional aspects that drive movie-watching encounters. In this sequel to our blog series, we will delve deeper into the influence of movies on viewers by highlighting various approaches that shed light on the motivations behind consuming media, with a specific focus on films. 

One prominent approach is the “uses and gratifications” perspective, which acknowledges that people have diverse motivations when watching films (Greenwood & Long, 2014). These motivations can range from seeking entertainment and diversion to gaining insights into the social world or forming emotional connections with characters. Essentially, these motivations can be summarized by the para-social interaction theory, initially proposed by Horton and Wohl in 1956. This theory explains the phenomenon of viewers experiencing a sense of interaction with on-screen performers, even though the relationship is one-sided and non-reciprocal (Hartmann & Goldhoorn, 2011). 

Film consumption during adolescence serves multiple purposes, including mood management, exploration of identities, and validation of experiences. Movies also play a role in the developmental tasks of emerging adults by facilitating the creation of new prototypes for a more encompassing life experience, desired self-images, and feared self-images. In the early stages of studying film’s impact on emerging adulthood, researchers like Markus and Nurius (1986) proposed a theory that adolescents rely on film and media representations to shape their expectations and limitations regarding their future selves. This theory explains why surveyed adolescents were likelier to believe that being happy, attractive, and famous were attainable outcomes than being poor, unhealthy, or unhappy. These ideals were thought to be influenced by media portrayals that were observed and retained by adolescents. 

Building upon these theories, Steele and Brown (1995) developed a “media practice model” that suggests teenagers do not passively accept media images and messages. Instead, they actively make deliberate decisions that influence their selection, interpretation, and adoption of media and film ideals. Recent research has expanded on these concepts and found that self-serving biases can be adaptive and motivating when the gap between one’s actual self and ideal self is flexible. Adolescents may find solace and affirmation by connecting with film characters who resonate with their experiences. 

Previous research has primarily focused on movie themes and their ability to evoke emotions in viewers, particularly negative emotions like fear and sadness. One intriguing finding suggests that exposure to movies depicting hardship or loss can reduce viewers’ unease about their problems, as the problems portrayed in the movies may appear less daunting. Additionally, studies have revealed that exposure to “darker” films exploring death and destruction can help individuals cope with their anxieties surrounding mortality by allowing them to overcome threats vicariously from a safe distance (Greenwood & Long, 2014). 

Greenwood and Long (2014) integrated various ideas from prior research to understand how individuals attribute personal significance to movies and uncover film’s social and emotional power. They conducted a study involving emerging adults, asking them to identify a memorable film and explain its meaningfulness. The researchers hypothesized that these meaningful movies might be viewed multiple times, evoke mixed emotions (particularly in films with somber themes), and be associated with life transitions and notable events. The study reported on critical aspects of movie viewing experiences, including emotional valence, social context, and frequency of viewings. It also explored psychologically significant schemas that films seemed to activate. The researchers identified three main themes and subthemes that distinguished most viewing experiences: life lessons, character connections, and social relationships (Greenwood & Long, 2014). Contrary to the aforementioned hypothesis, the findings revealed that memorable movies predominantly elicited positive and mixed emotions. Additionally, only one-third of the participants reported that their memorable movie was linked to significant life events. 

The study findings revealed interesting patterns regarding participants’ movie preferences and the impact of these movies on their lives. Dramatic movies were the most chosen genre, indicating a preference for emotionally engaging narratives. Furthermore, many participants reported watching their selected movie multiple times, suggesting a desire for repeated experiences. Most participants stated that the initial viewing of their chosen movie had a profound emotional impact on their lives. Importantly, this initial impact was found to be significantly associated with the perception of ongoing emotional impact. This suggests that the emotional resonance experienced during the first viewing can shape how individuals perceive and be affected by the movie over time. 

Regarding the themes that emerged from the participants’ descriptions, the most prevalent theme was life lessons. Several subthemes were identified within this theme, including inspiration, social comparison, coping, and negative contemplation. These findings suggest that viewers often seek meaningful insights and personal growth through their chosen movies. The second most frequent theme was character connections, particularly associated with repeated viewings. This suggests that viewers develop strong emotional bonds with certain characters, prompting them to revisit the movie to reconnect with those characters. Within the theme of social relationships, the subthemes of joy and gratitude were the most prominent. This indicates that viewers derive joy and a sense of gratitude from the social connections forged through shared movie experiences. It is worth noting that the movies recalled by the participants in this study were likely influenced by factors such as recent popularity, box office success in the previous decade, target audience preferences (teenagers and young women predominated in the sample), or other developmental considerations (Greenwood & Long, 2014). 

When Roger Ebert stated, “The movies are like a machine that generates empathy,” he expressed the idea that films have a unique ability to evoke and cultivate empathy in viewers. Ebert recognized that movies possess a powerful mechanism for connecting audiences with the experiences, emotions, and perspectives of the characters depicted on screen. In lab settings, movies have been used as a remarkable tool to inspire and influence while generating empathy, compassion, and commitment. Movies profoundly impact physicians, inspiring them to become better doctors by fostering empathy, compassion, and a more robust dedication to patient care (Shapiro & Rucker, 2004). This influence also extends to medical students, as highlighted by Shapiro and Rucker’s study revealing that movies serve as a crucial source of knowledge for 2nd-year medical students, particularly in understanding electroshock therapy. Additionally, researchers suggest that watching movies can effectively trigger the Don Quixote Effect—an ability to perceive one’s life in a broader and more significant context. 

Another explanation for empathy comes from the concept of embodied simulation, introduced by Vittorio Gallese. Embodied simulation involves neural firing patterns known as semantic pointers, which encode sensory, motor, and emotional information. For instance, an insult consists of the words spoken and encompasses the accompanying tone of voice, facial expression, and offensive gestures. When empathizing with a character who experiences embarrassment or insults, individuals engage in a mental simulation, allowing them to directly comprehend the emotional impact of being insulted. This process helps foster a deeper understanding of the hurtful nature of such experiences. 

By immersing ourselves in movies’ narratives and visual storytelling, we can form emotional connections with the characters and gain insights into their lives, struggles, and triumphs. This process of identification and understanding allows us to step into the shoes of others and see the world from their vantage point. It encourages us to relate to their joys, sorrows, fears, and hopes, even if their circumstances differ. Through the cinematic medium, with its combination of visuals, sound, performances, and storytelling, movies can transport us into different lives, cultures, and situations. They can awaken our empathy and expand our understanding of the human experience. 

In essence, Ebert’s statement suggests that movies function as a mechanism or tool that activates and enhances our capacity for empathy. They bridge the fictional world portrayed on screen and our reality, enabling us to develop a deeper sense of connection and compassion for others. 

Reference List  

Greenwood, D., & Long, C. R. (2014). When Movies Matter. Journal of Adolescent Research, 30(5), 625-650. doi:10.1177/0743558414561296 

Hartmann, T., & Goldhoorn, C. (2011). Horton and Wohl revisited: Exploring viewers’ experience of parasocial interaction. Journal of communication, 61(6), 1104-1121. 

Markus, H., & Nurius, P. (1986). Possible selves. American psychologist, 41(9), 954. 

Shapiro, J., & Rucker, L. (2004). The Don Quixote Effect: Why Going to the Movies Can Help Develop Empathy and Altruism in Medical Students and Residents. Families, Systems, & Health, 22(4), 445–452. https://doi.org/10.1037/1091-7527.22.4.445 

Steele, J. R., & Brown, J. D. (1995). Adolescent room culture: Studying media in the context of everyday life. Journal of youth and adolescence, 24(5), 551-576.