본 연구는 영화의 태도에 영향을 미치는 동감과 감정이입의 드라마적 요인을 탐색하며 영화의 관리적 시사점을제공하기 위하여 수행되었다. 기존 연구들과 차별화하여 영화에 대한 감정반응이 관객의 태도에 영향을 준다는 가정하에 감정반응을 인지적인 성격이 강한 동감과 감각적이고 지각적인 성격이 강한 감정이입으로 구분하였고, 이를 기준으로 영화의 드라마적 구성요소를 동감의 영향요인과 감정이입의 영향요인으로 구분하였다. 본 연구의 결과에 따르면 첫째, 구성의 짜임새와 캐릭터 수용성은 동감에 영향을 주지만, 스토리 가치 부합성은 동감에 유의하지 않은 것으로 드러났다.
둘째, 음악의 심미성과 배우의 매력성은 감정이입에 영향을 주지만, 영상의 심미성은 감정이입에 대한 영향력은 유의하지 않은 것으로 드러났다.
마지막으로 동감의 경우 감정적 반응구조에서 하나의 체계로 분리되어 움직이기도 하지만, 감정반응에 절차에서 동감은 감정이입에 영향을 주며, 인지적인 감정반응인 동감과 감정적이고 감각적인 감정반응인 감정이입은 모두 영화의 태도에 긍정적인 영향을 주는 것으로 드러났다.
Since cinematograph was invented by Lumiere in 1895, film has been admitted as theartistic merit and higher value-added business. As a result, these days, the studies on filmare lively carried on the various fields. Also, especially, the film business is thought to bevalue-added business and has explored the causes of influencing audiences.
However, film is not only hedonic goods but also experiencial goods. So emotional responseof spectator is important to evaluating film. But the great part of the study of films isconcentrated on the hedonic side of film. Until now there is not enough research for the filmas experiencial goods.
To explain the value of film as experiencial goods, our study focuses on emotional responseof spectator and we explore relationship between attitude and emotional response. Namely,the purpose of this study is to examine the roles of sympathy and empathy on the effects ofdramatic factors on attitude toward film.
To pursuit this goal, this study focuses on emotional responses and distinguishes betweensympathy and empathy. Sympathy stems from the perspective of an observer who is consciousof another’s feeling, empathy stems from that of a participant who merges with another’sfeeling, which means sympathy is of cognitive thinking and empathy is of affective feeling.
Based on these differences, we explore the role-differences of sympathy and empathybetween the dramatic factors of film and film evaluation.
The dramatic factors which have effects on sympathy are personal value-symbolic meaningcongruity, narrative structure and spectator’s acceptance of character’s activity. The dramatic factors which have effects on empathy are aesthetics of image, aesthetics of music andactor’s attractiveness.
To achieve the goal of this study, the experiments in which students at the ChunbukNational University participated were conducted in 2009(june-july). Data collection wasproceeded through questionnaires.
In the first stage, 30 college students were recruited to participate in the beforehand survey.
In the second stage, after revising the scale to measure conceptual constructs on the basisof the beforehand survey, the main survey was executed.
Data sampled from the undergraduate students of marketing class. A total of 215 questionnairesare given, of which 213 completed were returned. After rejecting 4 problematic questionnaires,we analyzed 209 questionnaires.
The sample consists of women 94(45%) and men 115(55%). A majority of participants aretwenties(192, (92.82%)) which reflect a type of the main spectator of film.
On the first page of the questionnaires, participants reminded some films freely and thenthey selected one out of the films and filled out questionnaire.
We use the entire data sample(n=209) to refine all the measures(7-point scale) and testtheir convergent and discriminant validity. For all internal consistency measure, we conductCronbach’s Alpha. The values of Cronbach’s Alpha for each construct are greater than 0.60,which means that the scales demonstrate internal reliability(Anderson & Gerbing 1988).
To verify convergence validity of measurement items, we conduct exploratory factor analysis.
We use varimax rotation method to decide the number of factors(SPSS 12.0). The factorloadings for each construct are above 0.6.
To reconfirm the results of exploratory factor analysis, we conduct confirmatory factor analysisof using structural equation modeling(Amos 17.0). Measurement items are significantlyloaded to the related construct. All the correlation coefficients between constructs are below the 1.0 at thecorrelation coefficient ±2 s.e(standard error) interval(Fornell & Lacker 1981).
We test the hypothesized model using structural equation modeling(Amos 17.0). The fit indicesfor the model are as follows: X2=524.760(df=300, p=0.00), GFI=0.844, AGFI=0.804,RMSEA=O.060, IFI=O.925, CFI=0.924, TLI=0.911. According to the guidelines, there isevidence that our measurement model fits data.
The results of hypotheses tests are as follows: The path from Personal Value-SymbolicMeaning Congruity to Sympathy is not supported(estimate .062, t-value 0.879). The pathfrom Spectator’s Acceptance of Character’s Activity to Sympathy is supported(estimate .148, t-value 1.966, p<0.1). The path from Narrative Structure to Sympathy is supported(estimate.332, t-value 2.805, p<0.05). The path from Aesthetics of Image to Empathy is not supported(estimate -.793, t-value -3.393.) The path from Aesthetics of Music to Empathy is supported(estimate .340, t-value 2.109, p<0.01). The path from Actor’s Attractiveness to Empathy issupported(estimate .470, t-value 4.704, p<0.1). The path from Sympathy to Empathy issupported(estimate .523, t-value 3.310, p<0.01). The path from Sympathy to Attitude issupported(estimate .435, t-value 3.728, p<0.01). The path from Sympathy to Attitude issupported(estimate .195, t-value 3.806, p<0.01).
The results of empirical study are as follows. First, spectator’s acceptance of character’sactivity (H2) and narrative structure(H3) have positive effects on sympathy. But the effectof a personal value-symbolic meaning congruity on sympathy is not significant(H1). Second,aesthetics of music(H5) and actor’s attractiveness(H6) have positive effects on empathy.
But the effect of aesthetics of image on sympathy is not significant(H4). Lastly, sympathyaffects empathy(H7), and also both sympathy and empathy have direct effects on positiveattitude toward film(H8, H9).
