Reconsidering mood and narrative cinema

Abstract

This article provides a much-needed continuation of the discussion of mood in narrative cinema. Whereas the dominant accounts of mood and cinema are interested in how films and filmmakers artistically express ‘mood,’ and in whether these films can therefore give rise to an equivalent mood in viewers, this paper introduces the consideration of the moods spectators themselves bring to viewing experiences. I begin first with an overview of the influential accounts of mood and narrative cinema put forward by Carl Plantinga and Robert Sinnerbrink, examining their strengths and weaknesses. In the second section, drawing on insights from phenomenological approaches to mood, namely a renewed concept of ‘attunement,’ I offer provisional sketches of three possible complex mood negotiations unexplored in the former accounts, with reference to sequences from specific films. In these cases, viewers can experience the aesthetically crafted moods of a film with affective, mooded investment without sharing an equivalent mood.