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Za človeka gre: Relevanca znanosti in izobraževanja / All about people: Relevance of science and education 2020

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Does the film choose the viewer or the viewer choose the film?

The core of the thinking in the paper comes from the position of the modern individual, who is exposed to the constant flow of information and content that affects his opinions, attitudes and value systems. The individual is revealing himself in the digital spheres, online networks and parallel social worlds and that way becomes a prey to the economic, media and corporate currents. Its position is central in the sense that it is designed to be shaped by many forces that synchronously create ideal consumers through established relationships. In this role, the individual is placed in an unenviable position unless he is empowered to the extent that he can manage many influences with critical distance. In this constellation, individual feels extremely autonomous and independent, but with sophisticated digital forms of targeting in the parallel digital world and social networks that are replacing real life, he or she is actually an important target whose ideals, attitudes towards society and itself and also cinematic taste, are built by the holders of capital. As a formed consort of the cultural industry, the individual becomes the part of a built structure, within which he or she chooses those cinematic contents that are served in this harmonized system and, in connection with pop culture, represent ideals worth pursuing. The question that we have to ask, is to what extent the individual is the one who chooses the film content that he or she wants to consume. Through a deliberately established distribution network run by the most powerful production companies, the set of films that reach the masses is limited and tied to dominant production. The individual therefore needs its own initiative, engagement and channel search through which he or she can access content from outside the dominant network. Prior to this phase, however, it requires from the individual to find inputs through which it acquires knowledge of film content that is available outside the established system. But it takes time, intellectual input and self-interest to do that. Through the influence on the sensory perception and social perception of the viewer, the film has a power that does not end with the viewing of the film, but then actually becomes effective. The question posed in the name of the paper seems to be extremely relevant, since the gap between the content available to us in the first place and the content that constitutes an antipole is huge and the path to be taken to alternative film content is not instant. The choice of the individual therefore depends on his or her pedigree, personality and critical thinking ability, and in this context the role of film education, which is not only relevant for children and adolescents, but increasingly for adults, is also demonstrated.

Julija Kotnik


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