After my talk with Ben about my project, he steered me in a different direction to what I had initially expected. We came to the conclusion that my research question was too broad and needed to be narrowed down to something more specific. I researched film spectatorship, embodied and cognitive motor spectatorship, affect, emotional blunting and neurodivergence. Following this, I felt a little out of my depth. When researching these topics it felt as though my research was turning into a science paper as opposed to a design one. There was so much research on film spectatorship that, although helpful, I found it quite difficult to narrow down and condense my research into key findings. I ended up with 15 pages of research that needed condensing, and I just gave up and put it aside.
Throughout my research I came across new findings that solidified my understanding of film spectatorship and how movie goers interact with film. Prior to this project, I had known that I had a strong connection to films, but I wasn’t able to identify why this might be. I wasn’t aware that there was so much research into film spectatorship and how people engage with movies, and there were some really interesting findings. Colman (2014) looked into how filmmakers use narrative viewpoint and visual elements to direct and control viewers' emotions and attention. Overall, Colman's research shows that the connection between filmmakers and audiences is dynamic and two-way. It also shows how important audiences are in making and understanding cinematic stories. Her research helped me to understand that there are multiple aspects involved in film spectatorship such as the gaze, how narrative perspective is built, and how pictures on the screen interact with space off the screen.
This research delves into how spectators create their own subjective experiences while engaging with films. Colman delves into the ways in which individual differences, including variations in sensory perception and emotional response, shape the spectator's interpretation of cinematic content. This was something I found that resonated with me and would explain why we all have different experiences of certain films. In my peer discussion, I brought up a few films that impacted me and have had a lasting impression to which my peers replied that they didn’t like the films. Initially, I found this really strange and I couldn’t make sense of how they couldn’t like things that objectively I felt were really good. But it just goes to show that film spectatorship is truly subjective and based on your own experiences and viewpoints and the research supported this. This idea of subjectivity and personal experiences inspired how I was going to structure my project, Ben advised me to look into autoethnography. A qualitative research method that combines autobiography and ethnography. Auto ethnographers use their own experiences to study cultural, social, and psychological issues. Autoethnography studies the researcher's own life and perceptions, unlike ethnography, which studies a group or culture from an outsider's perspective. (Ellis, Adams and Bochner, 2010)
The researcher critically investigates their own experiences, feelings, and identities in social and cultural situations in autoethnographic study. They may use personal stories, memories, notebooks, or other self-reflection to reveal themes or patterns. Autoethnography frequently emphasises the researcher's reflexivity, transparency, and subjectivity, noting that their positionality and biases influence data interpretation.(Ellis, Adams and Bochner, 2010) After researching into film spectatorship, subjectivity and personal experiences, I wanted to explore the autoethnography route.
After this weeks lectures on validity of results I realised that even if a paper claims to be scientific, it is only really representative of the sample size and not entirely conclusive of anything. I had initially thought that I would do some kind of survey, but I did wonder if there was any point if the sample size was so small. Then also you would have to make sure you had a good mix of genders, ages and people of different backgrounds, and this seemed quite difficult to do. Therefore, I decided I was going to choose the autoethnography route. I would use myself as a participant and I would base the research on my research findings and own personal experiences with film. I would back up my experiences with the research findings and I would make conclusions based on these findings.
This week we had to hand in a proposal that detailed our research question as well as the history and theory behind our research. I managed to narrow down my research question from
“How do the design, including title sequences, and cinematic elements in films encourage and impact emotional connections, particularly for individuals with neurotypical conditions who experience flattening or emotional blunting. How can these aspects be optimized to enhance emotional engagement and foster emotional connections?”
To
"How might film experiences be enhanced to maximize emotional engagement and sensory resonance for individuals experiencing both anhedonia and hyperesthesia? An autoethnographic exploration.
After speaking to Ben and getting his advice on what I should research, I found that there was a wealth of knowledge regarding my project but I also found that emotional blunting and flattening was a symptom of anhedonia. anhedonia is a condition characterized by the inability to experience pleasure or enjoyment from activities that are typically considered enjoyable or rewarding. This can include a diminished interest in activities that were previously enjoyable, a lack of motivation, and a general feeling of emotional flatness or numbness. Anhedonia is often associated with mood disorders such as depression, but it can also occur as a symptom of other mental health conditions or as a side effect of certain medications.(Bhandari, 2020) This was something that I had been experiencing throughout my life but seemed to get worse after I got diagnosed with schizoaffective disorder. The antipsychotic medication I am on is known to deplete your levels of dopamine (Kapur et al., 2006)which can lead to symptoms of detachment and loss of interest in life and a general sense of numbness. That’s said I also sometimes experience the opposite .Hyperesthesia- refers to a condition characterized by heightened sensitivity to sensory stimuli. Individuals with hyperesthesia may experience heightened sensitivity to various sensory inputs such as touch, sound, light, or taste, which can result in discomfort or pain from stimuli that others perceive as normal or tolerable. This heightened sensitivity can significantly impact daily functioning and quality of life for those affected.(www.medicalnewstoday.com, 2022). Although there are many negative things about this condition. Hyperesthesia can sometimes be channelled into something positive. Usually when I’m experiencing something creative such as film, music or design, I feel that I am in my element I feel connected and happy and I’ve always wanted to know why this is specifically with film. Is there a reason why I feel so disconnected to life but really connected to film. This is what inspired my research.
Looking into the history and theory behind my project I found that, The project question expands on established theories of film spectatorship, delving into the ways in which audiences interact with and interpret cinematic experiences. I found that academic experts have made significant contributions to our understanding of how we perceive, process, and emotionally engage with films. Their theories shed light on the intricate relationship between viewers and the films they watch. It became clear that film isn’t just a passive experience but it involves an active participation from the viewer.(BYU Studies, n.d.) Sometimes inadvertently we bring our own experiences of the world and our perceptions into our experience of the film. After my peer discussion and looking into films of interest, I realised that my own life experiences and what I had personally encountered in my life all added to the subjectivity of the films I was enjoying. Certain films were more emotionally resonant with my because the topics discussed were close to my heart and the characters faced similar experiences to mine.
For example, six feet under resonated so deeply with me because it involved talk about death and the end of life, something that I was morbidly obsessed with for a long time due to my own experience of existential dread and spirituality. This series spoke to my own experiences of finding meaning in this complex life. Had I not had so many philosophical thoughts about the afterlife and what happens after death I don’t think I would be so drawn to this series. And again, many people I spoke to just didn’t get it but it’s a series that I will remember for its poignant storytelling and depth.
For this project I thought it would be important to look into sensory psychology and design. I've learned that sensory experiences are really important in shaping how we perceive and interact with the world around us. Whether it's what we see, hear, touch, taste, or smell, these sensory inputs can have a big impact on our emotions, thoughts, and behaviors. By understanding the complexities of sensory psychology, designers can create experiences that are not only visually appealing but also engaging and meaningful on multiple sensory levels. This means considering factors like colors, textures, sounds, and even scents to create environments and products that resonate with users and enhance their overall experience. By integrating insights from sensory psychology into design practices, we can create more inclusive and enriching experiences for everyone.
My project question is built upon extensive research into mental health conditions, specifically focusing on anhedonia and hyperesthesia. These conditions have profound effects on individuals' emotional well-being and sensory experiences. Anhedonia can make it difficult for people to find joy or pleasure in activities they once enjoyed, while hyperesthesia heightens sensitivity to sensory stimuli, potentially leading to discomfort or pain from everyday sensations. Understanding the underlying mechanisms and expressions of these conditions is crucial for developing effective interventions that address their unique challenges and promote overall well-being. By gaining deeper insights into anhedonia and hyperesthesia, I can tailor strategies to better support individuals affected by these conditions, enhancing their quality of life and fostering greater resilience in the face of adversity.
My project question is based on the incorporating the principles of inclusive design, which highlight the significance of developing products, environments, and experiences that cater to a wide range of abilities and needs. More precisely, i wpi;d like to support ongoing efforts to improve accessibility in cultural and entertainment venues. The question focuses on exploring strategies for creating sensory-inclusive film experiences that can appeal to a wider range of audiences. Through this investigation, I hope to contribute to the ongoing efforts of enhancing accessibility and inclusivity in entertainment osettings for individuals with different sensory sensitivities or preferences.
I intend to seek to deepen comprehension and practicality in the realms of film studies, sensory psychology, mental health research, and inclusive design by integrating historical and theoretical viewpoints. I aim to assist in the development of innovative solutions that enhance the movie-watching experience for individuals experiencing anhedonia and hyperesthesia. The objective is to encourage a more profound emotional bond, heightened sensory experience, and improved overall state of being.
So I wanted to get the go ahead from Ben about pursuing an autoethnography before I actually started. For my speculative methodology I realised that as the project was going to be an autoethnography, there was no need for recruitment of participants since the study would revolve around previous literature and my experiences and findings. I thought about reflective journalling, engaging with films and recording my thoughts, emotions and sensory experiences after each viewing session. I would then reflect on my finindgs and relate them back to the previous literature findings. I would use a Thematic analysis to uncover patterns, themes, and insights within my reflections and experiences. I will actively reflect on my own biases and assumptions during the analysis process.
Although I included protoyping in my plan, I’m still not sure yet of what my final outcome will be but I would like it to involve some kind of sensory inclusive film experience that will be tested on individuals who experience anhedonia and hyperesthesia I will then gather feedback on the prototype's effectiveness in evoking emotional responses and addressing sensory sensitivities.
I feel like I still have a lot to research and there’s still a long way to go before I find anything solid, I also need to start conducting my personal reflective film sessions. I have a lot to do and I think it would be useful to set some kind of plan for the next few months before it gets quite overwhelming!
References
Colman, F. (2014). Spectators. Columbia University Press eBooks, [online] pp.71–94. doi:https://doi.org/10.7312/columbia/9780231169738.003.0004.
Ellis, C., Adams, T.E. and Bochner, A.P. (2010). Autoethnography: An Overview. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, [online] 12(1). Available at: https://www.qualitative-research.net/index.php/fqs/article/view/1589/3095.
Bhandari, S. (2020). What Is Anhedonia? [online] WebMD. Available at: https://www.webmd.com/depression/what-is-anhedonia.
Kapur, S., Agid, O., Mizrahi, R. and Li, M. (2006). How antipsychotics work—From receptors to reality. NeuroRX, [online] 3(1), pp.10–21. doi:https://doi.org/10.1016/j.nurx.2005.12.003.
www.medicalnewstoday.com. (2022). Hyperesthesia: Definition, causes and symptoms. [online] Available at: https://www.medicalnewstoday.com/articles/hyperesthesia.
BYU Studies. (n.d.). Active Spectatorship. [online] Available at: https://byustudies.byu.edu/article/active-spectatorship-spiritual-dimensions-of-film/ [Accessed 1 Mar. 2024].