@inbook{ca09e98b465d4b23b1173b35e08bb929,
title = "Cinematic Empathies. Spectator involvement in the film experience",
abstract = "In this chapter, Adriano D{\textquoteright}Aloia discusses the role of empathy in spectators{\textquoteright} involvement in narrative fiction film. He highlights the importance of the {\textquoteleft}quasi{\textquoteright} or {\textquoteleft}as if {\textquoteright} aspect of empathy: whenwe experience the fictive world of the film {\textquoteleft}as if {\textquoteright} it was real, while also knowing that it is notand we relate to the other {\textquoteleft}as if {\textquoteright} they were us, while knowing that they are separate. This {\textquoteleft}asif {\textquoteright} experience is an imaginary act that activates the spectator{\textquoteright}s kinesthetic sensations in amotor imitation of movement perceived in the film, which can be that of a character or ofthe #lm itself, as in the movement of the camera. D{\textquoteright}Aloia exemplifies graphically the {\textquoteleft}as if {\textquoteright}experience in film spectatorship by contrasting the reaction of spectators within a #lm whowitness an acrobat falling with the reaction of spectators in the cinema; whereas the formerjump up in horror, the latter remain seated – perhaps also horrified, but viewing the event{\textquoteleft}as if {\textquoteright} real, while not actually happening in front of them.",
keywords = "Albert Michotte, Edith Stein, Empathy, Empatia, Fenomenologia, Film theory, Filmologia, Filmology, Phenomenology, Spectatorship, Spettatore, Albert Michotte, Edith Stein, Empathy, Empatia, Fenomenologia, Film theory, Filmologia, Filmology, Phenomenology, Spectatorship, Spettatore",
author = "Adriano D'Aloia",
year = "2011",
language = "English",
isbn = "978-1841504919",
series = "Cultural & Media Studies",
pages = "91--108",
editor = "Matthew Reason and Dee Reynolds",
booktitle = "Kinesthetic Empathy in Creative and Cultural Practices",
}