COMPREHENSION DIFFERENCES BETWEEN ART AND COMMERCIAL MOVIE WATCHERS: AN EMPIRICAL STUDY ON DIFFERENCES IN THE INTERPRETATION OF THE MOVIE HIDDEN BY MICHAEL HANEKE

TL;DRAbstract

In the field of film studies, numerous empirical studies and theoretical models in formalist, semiotic andcognitivist paradigms addressed the question of how we understand movies. In this article, the ‘cognitivist'paradigm will be taken as basis of theoretical background. Cognitivism looks at general humanperceptual and cognitive capacities to deduce understanding of the movies and claims that films promptaudiences to apply situation models to what they see. Situation models are mental representations of thestate of affairs described in a written or audio-visual text. Audiences ask themselves what, where, whenand why the onscreen events are happening while watching a film. They know the common templatestructure which consists of an introduction of settings and characters, complicating actions, outcome andending. This study is designed to address what happens when a film is an art film, of which the narrativeline is fragmented so that there is no seamless cause-an

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