For example, few people regard those highly sentimental movies about lovers, one of whom gets a terminal disease, and we watch their relationship grow as one of them dies, as great art. However, someone suffering from an illness or whose lover, mother, or friend had a similar situation might be touched emotionally. They would identify with the characters and situations in the movie. Their evaluation, therefore, might be a function of their response and not a result of the quality of the writing, acting, cinematography, editing, or other pieces of the craft of movie-making. They like the work because they relate to it.
Yet, people judge works based on their own emotions all the time. They like things that make them feel good, inspired, or uplifted. They recoil from works that challenge their firmly held beliefs or make them think too hard. Sometimes, they miss the real art, skill, and beauty of the work because they are too caught up looking at themselves. Instead of examining the work, they see a mirror that reflects parts of themselves.
We identify with a character and then that character becomes a stand-in for us. We think we know how they feel. We know how this plot goes because we have encountered situations like this in our lives. The work feels authentic and rings true because it mirrors our experience.
Or our values. A work that confirms and supports our view of the world can be more appealing than one that challenges us to see a different perspective. A work that is simple and sweet goes down easier than one that is complicated and depends a great deal on the craft of storytelling. We like pretty pictures more than complex puzzles.
Have you ever talked to someone who read a book you read or saw a movie you saw and thought to yourself, “Did we see the same thing?” They may make a minor character into the protagonist because they see themselves in that character. They may impose their view of the world on the world of the story. They embellish the work with their values and experiences and transform it into an extension of themselves. Their response to it is no longer about the work.
Of course, creators want their audiences to connect with their works. They rejoice when their characters and situations are real to people. However, when the response centers on the viewer to the detriment of the work, we are no longer focused on the work – but on the viewer.
It is not difficult to play with people’s emotions using words, images, music, or story. Advertisers, politicians, and propagandists frequently use anecdotes and compelling tales to manipulate their audiences. They are so good at this that their audiences rarely look behind the curtain to evaluate the vehicles themselves. They only see their images in the mirror.
They see themselves in the characters and rewrite the story to fit their world, values, experiences, and prejudices. Think about the responses to the first Hunger Games movie when a Black woman was cast as Rue. The book made it clear that Rue was Black. However, many people who claimed to love the book rewrote that fact in their minds. They brought their bigotry to the novel and, when its explicit features were turned into a movie, it no longer matched what they recalled from the book – and they got mad!
We recast the world in our own image. We rewrite the story to fit our values, wishes, and worldview. We think we know who are the oppressors and who are the victims because of course they reflect what we have seen and experienced in our world.
And if it is not the same, if the story is not our story, we sometimes ignore those aspects of the text and rewrite it to reflect us. We create a confirming and comforting carnival mirror instead of analyzing the work itself.
But the real story, the real movie, the real world doesn’t change. It isn’t just a mirror of us – and that can be difficult and uncomfortable to accept. It can make us the pawns of manipulators and Machiavellians. It can make us allies with evil.
