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Distracted Spectatorship, the Cinematic Experience and Franchise Films

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Distracted Spectatorship, the Cinematic Experience and Franchise Films Distracted Spectatorship, the Cinematic Experience and Franchise Films By Elizabeth Nichols BA, MA Lancaster University 2017 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy This thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere P a g e | ii Contents List of Figures ........................................................................................................................... iv Abstract ...................................................................................................................................... v Introduction: Distracted Spectatorship and the Cinematic Experience ..................................... 1 Chapter One: Defining the Cinematic Experience ................................................................... 17 Section One: Defining the Cinematic ................................................................................... 17 Section Two: Defining Experience ...................................................................................... 22 Chapter Two: Defining Distracted Spectatorship .................................................................... 37 Section One: Defining Spectatorship ................................................................................... 37 Section Two: Defining Distraction ....................................................................................... 49 Section Three: Defining Distracted Spectatorship Throughout the History of Cinema ....... 65 The Experience of Astonishment as Distraction .............................................................. 66 The Experience of Participation as Distraction ................................................................ 70 The Experience of Escape as Distraction ......................................................................... 75 Chapter Three: Self-reflexive Methods for Analysis ............................................................... 80 Section One: Franchises, Fandoms and Fans’ Interactions with Film ................................. 81 Significance of franchise films ......................................................................................... 83 New methods of interacting with films ............................................................................ 89 Fan cultures....................................................................................................................... 96 Section Two: Phenomenology, Affect and the Self-reflexive Approach ........................... 105 Phenomenology and Affect ............................................................................................ 106 Self-reflexivity ................................................................................................................ 108 Case Study Notebooks .................................................................................................... 113 Frontispieces ................................................................................................................... 118 Distracted Analysis ......................................................................................................... 121 Chapter Four: A Viewing of The Hunger Games: Mockingjay Part 2 .................................. 124 Distracted Analysis ......................................................................................................... 125 Self-reflexivity making visible certain identities............................................................ 129 Chapter Five: The Hunger Games: Mockingjay Part 2, Gender and Identification .............. 131 The Strong Female Lead................................................................................................. 140 Beyond the Strong Female Lead .................................................................................... 144 Chapter Six: The Hunger Games Mockingjay: Part 2 and the Significance of Subjective Spectatorship .......................................................................................................................... 168 The Politics of Spectatorship and the Notion of the Abject Spectator ........................... 171 Distracted Spectatorship and Self-reflexivity ................................................................. 185 P a g e | iii Distracted Analysis ......................................................................................................... 189 Summary of Distracted Analysis .................................................................................... 195 Conclusion ............................................................................................................................. 197 Appendix i: The Hunger Games Series Synopsis .................................................................. 203 Bibliography .......................................................................................................................... 206 Filmography ........................................................................................................................... 225 P a g e | iv List of Figures Figure 1 Top 20 films at the UK box office, 1989-2013 ..................................................................... 86 Figure 2 Annual UK Cinema Admissions, 1935-2013 ........................................................................ 90 Figure 3 Annual UK Cinema Admissions, 2001-2013 ........................................................................ 90 Figure 4 Estimated Value of the Film on VoD Market in the UK, 2002-2013 .................................... 91 Figure 5 Case Study Notebook One .................................................................................................. 114 Figure 6 Case Study Notebook One and Two ................................................................................... 115 Figure 7 Identification and Fandom Frontispiece One ...................................................................... 132 Figure 8 Identification and Fandom Frontispiece Two ..................................................................... 133 Figure 9 from Case Study Notebook One ......................................................................................... 135 Figure 10 Woodward, Ellie (2015) 'Jennifer Lawrence is the badass woman we all want to be' ....... 153 Figure 12 Woodward, Ellie (2015) 'Jennifer Lawrence is the badass woman we all want to be' ....... 154 Figure 11 Woodward, Ellie (2015) 'Jennifer Lawrence is the badass woman we all want to be' ....... 154 Figure 13 from Case Study Notebook One ....................................................................................... 162 Figure 14 from Case Study Notebook One ....................................................................................... 162 Figure 15 Subjective Spectatorship Frontispiece One ....................................................................... 169 Figure 16 Subjective Spectatorship Frontispiece Two ...................................................................... 170 Figure 17 from Case Study Notebooks One and Two ....................................................................... 174 Figure 18 from Case Study Notebooks One and Two ....................................................................... 175 Figure 19 from Case Study Notebooks One and Two ....................................................................... 176 P a g e | v Abstract This thesis draws on a reflexive account of embodied female spectatorship in order to re-frame dominant accounts of the cinematic experience. In particular the project shows how distraction, defined as a series of puncta which expand the spectator’s cinematic experience, is integral to embodied experience of film spectatorship and fandom. Drawing on theoretical grounding from film theory, classical cultural studies and fan studies, the study sheds light on how inhabiting the position of distracted spectator involves maintaining several identities simultaneously. The thesis used an in-depth contemporary case study, the Hollywood blockbuster franchise The Hunger Games (Gary Ross and Francis Lawrence, 2012-2015), to examine how these identities are made visible through distracted spectatorship and its impact on the cinematic experience. By making specific reference to the individual spectator’s cinematic experience the thesis re-evaluates how the spectator is presented within theories of fandom and spectatorship. The resultant reading makes visible the ways in which female fans already see. In turn this argument complicates current fandom and spectatorship theory as it calls into question the certain positions that these theories hold. This thesis challenges the more commonly theorised arguments by stating that the inhabiting of multiple identities creates a level of uncertainty within film analysis. P a g e | 1 Introduction: Distracted Spectatorship and the Cinematic Experience In 2011 it was announced that The Hunger Games (see Appendix i for synopsis), a trilogy of books written by Suzanne Collins, would be made into a series of films. That year I became involved in a franchise that began with reading all three books in 2011 and culminated in watching the final film adaptation in 2015. Through the course of those four years I encountered adverts, websites, merchandise, musical tie-ins and other promotional materials that kept me linked to the franchise over the
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