- Studying audiences concentrating more on those who consume a text.
- The audience decodes the message in multiple ways and this is dependant on the cultural background of the person.
- States that an audience may respond in one of three ways; Preferred Reading (taking an intended reading of the film and agreeing with all the messages encoded in the text), Negotiated Reading (the viewer identifies most of the meanings encoded within the text but doesn't agree with or take the full meaning), Oppositional Reading (the viewer does not identify the meanings encoded into the text and their own personal experiences form an alternative within the text).
- Dictates that a film doesn't have any meaning without the spectator and meaning is only generated when the spectator views the text and 'decodes' it.
Most films are constructed in a way that enable us to suspend our disbelief and emerge ourselves within the narrative through the use of slick cinematography and invisible editing and audiences buy into the 'reality' of the film, forgetting the film is a 'film'. However other films draw attention to the film as a 'textual construct', for example Wayne's World which frequently reminds audiences that they are watching a constructed reality.
Aesthetic - Concerned with beauty or the appreciation of beauty
Cognitive - The mental processes of perception, memory, judgment, and reasoning, as contrasted with emotional processes
Coherence - Overall sense and understandability
Disparity - Inequality and difference
Allegiance - pertains to the moral evaluation of the characters by the spectator
Allegiance is another form of identification with a character based on your attitudes towards class, race, nationality, age, ethnicity, gender and experiences.
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