Cinema, fiction and narrative are important devices for designing and structuring based-or-inspired-inreality information into the shape of a communicational experience with strong impact and deep resonances in their spectators. As an author’s specific and determined proposal, a fictional and narrative film expands the horizons that are allowed by reality and/or lived by each individual, establishing a kind of fruition that, even if follows directions decided by the creative entity, reserves space and openness for each spectator incorporate and gamble their individual and social expectations; understand, interpret and analyse filmic data through their subjective point-ofview; and see themselves on the screen (projection and/or identification) and capitalize that extension with important data for their subconscious and existential satisfaction. Hence, narrative and fictional cinema brings within a clear pragmatic potential that allow spectators to contact, experiment and think about reality (referenced, represented and/or simulated within the film diegesis), which necessarily implies cognitive, empirical and emotional learning possibilities from the standing point of the distant, safe and subjective experience that “cinema-situation” allows each spectator. This study establishes a solid theoretical framework on film’s reception and pragmatics and verifies how receptive subjectivity encloses and takes positive advantage of Cinema’s learning potential.
|Title of host publication||Avanca Cinema 2015|
|Subtitle of host publication||international conference|
|Editors||António Costa Valente, Rita Capucho|
|Number of pages||10|
|Publication status||Published - 2015|