Body Motivation Video Analysis

Our emotions affect us in so many ways. Emotions affect the way we behave, our views and opinions, our relationships and our decision-making; therefore, they are very relevant to our day-to-day lives. It is important that people have an understanding of these emotions and that they are able to interpret them. Emotions can both help and hinder our ability to best live our lives. It is also important to realize that even our emotions are shaped and biased by our environment and those close to us.

the audience there a product of there environment and giving his emotional response to the

Interaction is an important concept in sociology, and it has been studied from multiple different perspectives. Both Erving Goffman and Arlie Hochschild have made notable contributions to the sociological study of interaction. According to Erving Goffman’s The Presentation of Self in Everyday Life, interaction can be explained through a dramaturgical model. Within the dramaturgical model, interactions are portrayed as performances, as if a particular social environment is a stage, and the people in that social environment are actors (Goffman). Erving Goffman’s sociological interpretation of interaction is extended by Arlie Hochschild in her piece Feelings Management. Hochschild focuses specifically on performances that are put on in the workplace. Acting in the workplace has become a necessity in the service industry because in many cases, people must act warm and welcoming in order to keep their jobs. This method of acting happy and upbeat in the service industry is called emotional labor. However, as Hochschild explains, emotional labor can cause a strain on service workers, especially when they must act cheerful, even when they feel upset and distressed. The discrepancy between a person’s true emotions and their feigned emotional state is known as emotive dissonance. Continued emotive dissonance can lead to spillover, in which a person’s true emotions come out because they can no longer hold back these emotions. Though emotional labor began in the workplace, Hochschild

“All the world’s a stage, and all the men and women merely players.” William Shakespeare may have written these words in As You Like It in 1600, but Erving Goffman truly defined the phrase with his dramaturgical theory. Dramaturgical analysis is the study of social interaction in terms of theatrical performance. Unlike actors though, who use a script telling them how to behave in every scene, real life human interactions change depending upon the social situation they are in. We may have an idea of how we want to be perceived, and may have the foundation to make that happen. But we cannot be sure of every interaction we will have throughout the day, having to ebb and flow with the conversations and situations as they happen.

Zunshine’s theory of embodied transparency allows the audience to understand the perspectives of a character. She describes the moment in which the character’s body language involuntarily react to a stimulus. In “Freaks and Geeks” the concept of embodied transparency reveals the emotional complexity of Sam, Lindsay and Nick. Embodied transparency allows the audience to be engaged in the show because it provides a detailed characteristic of the character unseen by the audience. Restrain and transparency are wordless techniques that are solely based on the body language of the reviewers. The momentaneous demonstration of transparency and restrain provide a different point of view unavailable to the viewers that might subconsciously affect the perspective of the audience.

An actor in each setting will use communication to portray how they are feeling. For example, sports fans will use communication in order to display their emotions toward the status of the game. During church, a person in attendance will sing along to songs and engage in conversation to display their support and approval towards the word of God and the teachings of the Bible. Where it is acceptable to display your emotions in one setting it may not be acceptable in another.

Hochschild’s discussion of feelings allows us to understand how our feeling provides us with the bearings and guidance we need to reach a sense of both subjectivity and objectivity. The next question is: what do we do with this knowledge? According to Hochschild, we need to manage our feeling, either by surface or deep acting, in order to manage our display of feeling in the world. Hochschild (2003, p. 35) is convinced that all of us do a certain amount of acting, that self is performed. In understanding how surface and deep acting is accomplished, and in explaining its connection to emotion, Hochschild used the work of Stanislavski (1965), who is known as the father of ‘method acting’.

After reading the article “Still in the Dark – Silent Movie Audiences” by Gregg Bachman, the experiences of movie goers helped me understand how people watched or experienced movies when it first started out. For instance, one person said “You felt part of it; you became part of the picture with what was taking place. We were part of the picture” (pg. 121) meaning that as a movie goer you felt the emotion or action of the film. This emotion still holds true, when I go watch a movie, I always feel the emotion of the characters throughout out the film. For instance, when I was watching, the film 13 Hours, a movie about the secret soldiers of Benghazi, the level of emotion throughout the film was high because the soldiers were trying to survive and keep others safe while risking their own life’s. I think that when men and women go to movies today, it is more acceptable to show your emotions even though it was entirely accepted in the past.

Another technical reality you need to consider when using film and television is your face. As per this context, most actors rely on face to express their feelings in wrong way by either bugging their eyes or talking from tense jaws without noticing. This will send a wrong message to the audience. From Larry Moss point of view, to be a leading player in features like films, television and certain roles in theater, actors must have qualities of stillness and simplification. This act is mostly referred to as presence and it has to be portrayed from the eyes of the actor. The face of the actor has to be very still since the performance has to emanate from the eyes of the actor. This does not mean an actor has to be stone faced and self consciously minimal but he has to be subtlety. An actor should portray these emotions through their eyes so that he could carry away the audience emotions. Some parts especially in comedy are more expressive facially than others. Actors should not use their face or body to signal their feeling to the audience but they should actually feel them. This act is referred to us indicating your performance in film industry. Indicating your performance as an actor is a very bad mistake since it portrays how fake you are as an actor. Another thing you need to consider as a good actor is having a good taste and being smart in making your choices in a particular medium.

Emotions can make a powerful or hollow connection between two people. Although a person’s emotions can define their relationship with someone else, emotions can also separate the two people. Relationships can be more meaningful when the people involved are on the same page. Positive emotional connections create stability in relationships.

Other people have emotions too, and they love when they get things. It is good to make someone happy not just let them make us happy because that is like saying that we do not have emotions. Emotions are very important for everyone because that shows how people care. If people did not care then we could have problems. Problems are not good at all because we can do things without thinking. If we do things without thinking, then we are not being intelligent. That is why being intelligent and having emotions is good. Having a good heart is very good for people because that shows them that not everyone is bad and shows they have emotions. If people were bad then they could not have emotions and they can not be intelligent enough towards their decisions. For example if someone goes to jail because they killed someone that means at that point they probably did not have emotions. They probably were not that intelligent towards what they were

Emotional memory and sense memory are crucial to the acting process because they allow actors to organically and realistically feel emotions and sensations when acting as a character. Actors want their emotions onstage to be real, but recalling or remembering an emotional event from their own life may cause them to lose control of their emotions and break character. Therefore, to recall emotion onstage, an

Founded in 2001, the group is comprised of postgraduate students, exchange students, and other researchers who all have at least one area of interest in common: emotion. The research group examines emotions as a process, something directly correlated to emotions, and behaviors exhibited in interpersonal and group related settings. Investigations of noteworthy questions utilize several methods, laboratory and field experiments, assessment of video-recordings of staged and real-life interactions,

Great performances in media do not always have to involve theatrical acrobatics. An actor’s range or displays of genuine, emotional depth are necessary to build a character that is alive and multi-faceted. But, an actor’s ability to encapsulate a narrative within one’s own character is what is truly a display of an artist. Poetry has a phrase to describe the use of as few words as possible to encompass vast terrain of depth called the economy of language. Actors may not know it, but they operate on very similar guidelines. The small choices in an actor’s repertoire to move the body at a certain angle, to speak at a certain octave, the confidence by which one conveys a piece of dialogue. This “economy” of persona l expression builds a narrative of whom this character really is. The choice of a certain actor can change the implications of a character as well. For example, the well-known George Clooney’s educated and liberal personal background influences many movie goers in multi-dimensional ways. The crucial choice can change what a certain audience will see the person’s actions are relatable or even moral. Basically, sometimes great performances come down to the right people being put in the right scenarios and given the right tools. Enter Bud Corts and Kyle Maclachan.

213). As a whole, society tends to mirror the emotions of the person who is speaking or of the person who is playing a part. If a person goes to a play and the actors are experiencing fear, than the people who are watching the play will tend to experience that same fear. If one actor is mad at another actor, than the people watching the play will either experience that same emotion of anger or they will side with the other actor and experience the emotion that the other actor is feeling, whether it be uncertainty about why the other actor is mad at them or a feeling of sadness because the other actor is mad at them. Imitating others emotions happens all the time in society and as long as there is communication between people, whether it is verbal or nonverbal, this catching of emotions will continue.