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  3. 5. Grasping Represented Beings: Forming Mental Models of Characters (T)
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Grasping Represented Beings: Forming Mental Models of Characters (T)

  • Jens Eder(author)
Chapter of: Characters in Film and Other Media: Theory, Analysis, Interpretation(pp. 155–210)
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Title Grasping Represented Beings
SubtitleForming Mental Models of Characters (T)
ContributorJens Eder(author)
DOIhttps://doi.org/10.11647/obp.0283.05
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0283/chapters/10.11647/obp.0283.05
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightJens Eder;
PublisherOpen Book Publishers
Published on2025-07-29
Long abstract

Part III of the book (Chapters 5 and 6) deals with characters as represented beings in a storyworld. The characteristics of these beings can be organised into four main areas: physical, mental, social, and behavioural. These properties are intertwined and refer to each other in processes of character reception. Recipients construct mental models of characters on the basis of textual information in conjunction with their own mental dispositions. Mental character models are dynamic, multimodal mental representations that supplement perceptions with various types of knowledge and imagination and can be more or less typified or personalised. Comparable to social cognition in real-life interactions, recipients use the person schema, cultural ideas of human nature, common social categories, and folk psychology (including stereotypes and biases) to understand characters, their inner lives, and their behaviour. However, the reception of characters also differs significantly from social perception of real persons, due to media-specific factors: Unlike real persons, characters are also perceived as artefacts, symbols, and symptoms. Recipients are aware of the communicative functions and fictionality of characters and use various types of media-specific knowledge (e.g. about stars or narrative conventions) to understand them. Moreover, the traits of characters often differ from those of real people in order to achieve certain narrative effects (e.g. in fantasy, surrealism, or postmodern deconstruction). The chapter shows how all this contributes to the complexity of character reception and shapes different types of characters and audience reactions.

Page rangepp. 155–210
Print length56 pages
LanguageEnglish (Original)
Locations
Landing PageFull text URLPlatform
PDFhttps://www.openbookpublishers.com/books/10.11647/obp.0283/chapters/10.11647/obp.0283.05Landing pagehttps://books.openbookpublishers.com/10.11647/obp.0283.05.pdfFull text URL
HTMLhttps://www.openbookpublishers.com/books/10.11647/obp.0283/chapters/10.11647/obp.0283.05Landing pagehttps://books.openbookpublishers.com/10.11647/obp.0283/ch5.xhtmlFull text URLPublisher Website
Contributors

Jens Eder

(author)
Professor of Dramaturgy and Aesthetics at Film University Babelsberg
https://orcid.org/0000-0003-1937-5999
https://www.filmuniversitaet.de/portrait/person/jens-eder

Jens Eder is Professor of Dramaturgy and Aesthetics at Film University Babelsberg in Potsdam, Germany. His research focuses on the intersections of audiovisual media, narrative, and society. He has published books and articles on narrative theory, characters, emotions, political documentaries, video activism on social media, and image operations in societal conflicts. Currently he is heading the research group ‘Film as a Catalyst of Social Transformation’, which investigates the impact of engaged films.

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