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Nowadays films occupy a significant portion of the media products consumed by people. In Russia, cinema is being considered as a means of individual and social transformation, which makes a contribution to the formation of the Russian audience’s outlook, including their attitudes towards topical social issues. At the same time, the question of the effectiveness of films’ impact remains an open question in psychological science. According to the empirical orientation of our approach to the study of mass media influence, our goal was to obtain new data on the positive impact of films based on specific experimental research. The task was to identify changes in the attitudes of young people, as the most active viewers, towards topical social issues after watching a specifically selected film. Using a psychosemantic technique that included 25 scales designed to identify attitudes towards elderly people, respondents evaluated their various characteristics before and after watching the film. Using a number of characteristics related to the motivational, emotional and cognitive spheres, significant changes were revealed. At the same time, significant differences were found in assessments of the elderly between undergraduate students and postgraduate students. After watching the film, postgraduate students’ attitudes towards elderly people changed in a positive way, while undergraduate students’ negative assessments only worsened. The revealed opposite trends can be explained by individual differences of respondents, which include age, educational status as an indicator of individual psychological characteristics, the experience of interaction with elderly people and, as a result, attitudes towards elderly people at the time before watching the movie. The finding that previous attitudes mediate the impact of the film complements the ideas of the contribution of individual differences to media effects. Most of the changes detected immediately after watching the movie did not remain over time. A single movie viewing did not have a lasting effect on viewers’ attitudes, and it suggests the further task of identifying mechanisms of the sustainability of changes.

On April 3, 2009, the newest iteration of immersive cinema technology quietly rolled into two American multiplexes—the Mann Chinese in Los Angeles and the UltraStar Surprise Pointe in Surprise, Arizona (Harris). In both theaters, Fast & Furious (2009) debuted with the option for audiences to experience the film in D-BOX motion code. Select spectators paid a premium to \"live the action\" through D-BOX's patented motion effects and specially equipped seats in an update of Hale's Tours (1904–15) and William Castle's Percepto. Like these earlier motion-based immersive technologies, D-BOX offered moviegoers a sense of presence at a remove from one's lived experience and a feeling of embodied participation in the world of the film (Griffiths 2). However, although it shares aspects with earlier visually immersive \"movie rides\" and other contemporary 4-D exhibition technologies, D-BOX owes more to the development of film sound technology and aesthetics, particularly digital surround sound. As I will discuss, D-BOX is a digital cinema technology that \"envelops\" the spectator in the cinematic diegesis through a personalization of the surround-sound experience. Rather than amplifying the surround-sound effects to make spectators feel like they are in the space of the film, D-BOX's motion effects prompt the spectator's body to mirror those bodies depicted on the screen and identify with a particular point of view.

This article argues that genre provided filmmakers with a self-reflexive vehicle for reformulating the social legitimacy of filmmaking as a profession in response to the crises of recessionary New Hollywood. Faced with the apparent unpredictability of mass audiences, George Roy Hill's aviation film The Great Waldo Pepper (1975) presumes to fashion professional standards of competence and expertise that do not require social legitimation. But what encompasses these considerations are the industry's ongoing efforts to reconstitute film as a medium that serves a heterogeneous mass audience comprised of the well and the less educated, the young and the old.

Alongside all the other functions of movie theaters over the past century, in Mexico City men have used them as sexual spaces. A few cinemas like the Cine Teresa became notorious as sites in which men could find male sex partners. Yet even there, behaviors of and narratives by men who had sex with men mirrored those by men who had sex with women. This article focuses on the history of masculine sexuality in Mexico City movie houses from 1920 to 2010. The presence of women in these houses, either as workers, on the screen, or in men’s memories, along with the presence of men who went there to watch heterosexual sex on the movie screen, suggests that moviegoing in Mexico City can be analyzed through the lens of gender history as much as through that of the history of sexuality. Despite major social, cultural and technological changes over the twentieth century, examining movie audiences in terms of the histories of sexuality and gender reveals a startling amount of continuity in movie theaters as spaces of male sexuality. Junto con otras funciones de los cines durante el siglo pasado en la ciudad de México, los hombres han usado estas salas como espacios sexuales. Algunos cines como el Cine Teresa se hicieron famosos como espacios en los que los hombres podían encontrar parejas sexuales masculinas. Incluso en dichos espacios, sin embargo, los comportamientos y narraciones de los hombres que tenían relaciones sexuales con otros hombres reflejaban aquellas de hombres que tenían relaciones sexuales con mujeres. Este artículo se centra en la historia de la sexualidad masculina en las salas de cine de la ciudad de México de 1920 a 2010. La presencia de mujeres en estas salas, ya sea como trabajadoras, en la pantalla o en los recuerdos de los hombres, junto con la de hombres que iban a ver sexo heterosexual en la pantalla, sugiere que la experiencia de ir al cine en la ciudad de México puede analizarse tanto desde la perspectiva de la historia de género como de la historia de la sexualidad. A pesar de los grandes cambios sociales, culturales y tecnológicos durante el siglo XX, el estudio del público en las salas cinematográficas desde la perspectiva de historias de sexualidad y género revela una sorprendente continuidad de los cines como espacios de sexualidad masculina.

Researchers have recently suggested that historically mixed findings in studies of the Kuleshov effect (a classic film editing-related phenomenon whereby meaning is extracted from the interaction of sequential camera shots) might reflect differences in the relative sophistication of early versus modern cinema audiences. Relative to experienced audiences, first-time film viewers might be less predisposed and/or able to forge the required conceptual and perceptual links between the edited shots in order to demonstrate the effect. This article recreates the conditions that traditionally elicit this effect (whereby a neutral face comes to be perceived as expressive after being juxtaposed with independent images: a bowl of soup, a gravestone, a child playing) to directly compare \"continuity\" perception in first-time and more experienced film viewers. Results confirm the presence of the Kuleshov effect for experienced viewers (explicitly only in the sadness condition) but not the first-time viewers, who failed to perceive continuity between the shots. Keywords: artificial landscape, continuity perception, first-time viewers, Kuleshov effect, naive viewers

This engaging, deeply researched study provides the richest and most nuanced picture we have to date of cinema—both movies and movie-going—in the early 1910s. At the same time, it makes clear the profound relationship between early cinema and the construction of a national identity in this important transitional period in the United States. Richard Abel looks closely at sensational melodramas, including westerns (cowboy, cowboy-girl, and Indian pictures), Civil War films (especially girl-spy films), detective films, and animal pictures—all popular genres of the day that have received little critical attention. He simultaneously analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. Drawing from a wealth of research in archive prints, the trade press, fan magazines, newspaper advertising, reviews, and syndicated columns—the latter of which highlight the importance of the emerging star system—Abel sheds new light on the history of the film industry, on working-class and immigrant culture at the turn of the century, and on the process of imaging a national community.

This article discusses the role of movie images in influencing the public's perceptions of servicemembers. The implications of these findings are relevant to policymakers responsible for balancing servicemembers' needs with public perceptions.

This engaging, deeply researched study provides the richest and most nuanced picture we have to date of cinema—both movies and movie-going—in the early 1910s. At the same time, it makes clear the profound relationship between early cinema and the construction of a national identity in this important transitional period in the United States. Richard Abel looks closely at sensational melodramas, including westerns (cowboy, cowboy-girl, and Indian pictures), Civil War films (especially girl-spy films), detective films, and animal pictures—all popular genres of the day that have received little critical attention. He simultaneously analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. Drawing from a wealth of research in archive prints, the trade press, fan magazines, newspaper advertising, reviews, and syndicated columns—the latter of which highlight the importance of the emerging star system—Abel sheds new light on the history of the film industry, on working-class and immigrant culture at the turn of the century, and on the process of imaging a national community.