Intersubjectivity in Film

Nov 27

On a recent evening at the Angelika Film Center in New York, something remarkable occurred during a screening of Poor Things. As Emma Stone's character, Bella Baxter, experienced her first taste of independence, the entire audience collectively held its breath. When she stumbled upon a profound realization about her own agency, hundreds of strangers simultaneously leaned forward in their seats, completely engrossed in her journey. This moment exemplified what film theorists call intersubjectivity—the mysterious alchemy that transforms individual moviegoers into a collective consciousness, sharing a synchronized emotional experience.

In an era defined by algorithmic bubbles and personalized content streams, the phenomenon of shared cinematic experience has taken on new significance. As our daily lives become increasingly mediated through screens that isolate us in individualized feedback loops, the movie theater remains one of the last bastions of genuine collective experience. Understanding cinema's unique power to forge this shared consciousness is more crucial than ever.

The mechanics behind this shared experience are far more sophisticated than mere emotional contagion. When we watch films together, we engage in what theorists term "paradigm scenarios"—emotional episodes that connect to our lived experiences while simultaneously creating new shared reference points. A parent watching The Babadook might viscerally relate to the protagonist's exhaustion through their own experiences of sleepless nights with children. Yet rather than remaining confined to individual interpretations, these personal reference points blend with others' perspectives in the theater, weaving a richer tapestry of collective meaning.

Modern filmmakers have become increasingly adept at orchestrating these shared experiences while acknowledging the diversity of perspectives within their audiences. Jordan Peele's Get Out masterfully plays with audience expectations and shared cultural knowledge, creating scenes that resonate differently based on viewers' lived experiences. Some audience members might perceive certain interactions as merely awkward, while others immediately recognize them as microaggressions. Rather than fragmenting the audience, these layered readings contribute to a more nuanced collective understanding. The physical space of cinema itself plays a crucial role in this phenomenon. Film scholar Jane Stadler describes theatrical viewing as a "collective phenomenon, influenced by social dynamics and emotional interrelations." The shared energy of hundreds of people experiencing a story together amplifies its emotional impact in ways that cannot be replicated at home. This is why horror films often feel scarier in theaters—fear becomes contagious in the best possible way, creating a feedback loop of heightened tension and release.

Filmmakers have spent decades developing sophisticated techniques to manipulate and enhance collective experiences. The famous shower scene in Psycho works not only because of its technical brilliance but also because Hitchcock understood how to orchestrate a collective response through precise control of timing and perspective. Every cut, camera angle, and sound cue was calculated to maximize the shared impact of the sequence.

This understanding of collective experience extends beyond technical craft into the realm of narrative structure. Christopher Nolan's Inception explores intersubjectivity both thematically and formally. As characters share dreams within dreams, the audience enters a collective dream space, processing complex narratives and emotions together. The film's ambiguous ending, featuring the spinning top, creates a shared moment of uncertainty that sparks discussions continuing for years after its release.

Contemporary filmmakers are pushing these boundaries even further. Everything Everywhere All at Once succeeds by layering multiple entry points for diverse viewers—some connect with the immigrant narrative, others with the parent-child relationship, and still others with the metaphysical aspects. These elements combine to create a shared experience that feels both universal and deeply personal, demonstrating how modern cinema can bridge individual perspectives into collective understanding.

The rise of streaming has not eliminated cinema's intersubjective aspect but has transformed it in complex ways. Social media has become a virtual theater where people share reactions and interpretations in real time. When a new film is released on Netflix, Twitter lights up with shared moments of discovery, creating a different kind of collective viewing experience. However, many argue that this digital intersubjectivity lacks the raw power of physical co-presence in a theater. This transformation raises important questions about the future of shared cinematic experiences. While streaming platforms offer convenience and accessibility, they risk fragmenting audiences into isolated viewing experiences. The algorithms that power these platforms often reinforce existing preferences rather than create opportunities for collective discovery and shared understanding.

The implications extend far beyond entertainment. Cinema's ability to create shared consciousness has historically played a crucial role in social change. Films can bridge cultural divides by fostering collective empathy and understanding. When audiences from different backgrounds experience a story together, it can challenge preconceptions and encourage dialogue. This effect is particularly evident in films that address social issues, where the shared viewing experience can catalyze important conversations and movements.

However, this power comes with significant responsibility. The same mechanisms that allow films to create positive shared experiences can also reinforce harmful stereotypes or manipulate emotions for questionable ends. This is why diversity behind the camera matters; different perspectives in filmmaking lead to richer intersubjective experiences that challenge, rather than reinforce, existing biases.

The concept of intersubjectivity provides a theoretical framework for understanding these dynamics. Rooted in phenomenological traditions established by Edmund Husserl and later thinkers, it emphasizes how individual consciousness is shaped through interactions within a shared lifeworld. In cinema, this manifests through what theorists call "twofoldness"—the simultaneous engagement with both the representational content (story and characters) and the configurational elements (technical aspects and formal qualities) of film.

This dual awareness creates a complex interplay between individual interpretation and collective understanding. Films generate what phenomenologists call "affective atmospheres"—shared emotional spaces that allow viewers to experience feelings collectively while maintaining their individual subjective responses. This balance between personal and collective experience is central to cinema's power as a medium for social connection.

Gary Ross's Pleasantville offers an instructive case study in how films can explore and facilitate intersubjective experience. The film's transition from black-and-white to color serves both as a narrative device and a meditation on the nature of shared consciousness. As characters begin to experience deeper emotions and self-awareness, their world literally becomes more colorful, suggesting that authentic intersubjectivity requires emotional depth and genuine human connection.

The film's critique of the idealization of the 1950s serves as a broader commentary on how shared cultural narratives can either restrict or enable authentic human connection. By challenging the superficial pleasantness of its fictional world, Pleasantville suggests that true intersubjectivity requires acknowledging and embracing the complexity and occasional discord of genuine human interaction.

Looking toward the future, emerging technologies promise new possibilities for collective experience. Virtual and augmented reality technologies offer novel ways to craft shared spaces for storytelling. These technologies might eventually create hybrid forms of cinematic experience that combine the immediacy of physical co-presence with the connectivity of digital platforms.

Yet the fundamental challenge remains: how to preserve and enhance cinema's capacity for creating genuine human connection in an increasingly fragmented media landscape. As viewing habits continue to evolve, understanding the mechanisms of intersubjectivity becomes crucial for filmmakers, platforms, and audiences alike.

The stakes are higher than we might initially assume. In a world where social isolation and political polarization present growing challenges, cinema’s ability to create spaces for shared experiences and mutual understanding becomes increasingly urgent. The movie theater—or whatever form collective viewing spaces may take in the future—serves as a crucial counterweight to the isolating tendencies of modern media consumption.

This suggests that the future of cinema lies not only in technical innovation but also in finding new ways to facilitate genuine connection. Filmmakers who can craft experiences that resonate across diverse audience segments while maintaining authenticity will play a crucial role in shaping this future. Success will require balancing the benefits of personalization with the vital importance of shared experiences.

The power of cinematic intersubjectivity extends beyond any single film or viewing experience. When we gather in darkened theaters or participate in synchronized online viewings, we engage in a form of collective dreaming that highlights our fundamental interconnectedness. This shared dreaming—this ability to experience stories together despite our differences—may be cinema’s most vital contribution to human culture.

As we navigate an increasingly complex media landscape, the insights gained from studying intersubjectivity in film become ever more relevant. They remind us that what makes a film truly great isn’t just its technical excellence or narrative complexity, but its ability to foster genuine connections that alleviate our sense of isolation. In those moments when hundreds of strangers laugh, gasp, or cry in unison, we glimpse something profound: the reminder that our individual experiences, when shared, become part of something larger than ourselves. That’s the true magic of cinema—not just showing us new worlds, but helping us experience them together. As we look to the future, preserving and enhancing this capacity for shared experiences may be the most important challenge facing the medium.

The continued evolution of cinema will likely see new forms of collective experiences emerge, shaped by technological innovation and changing social patterns. Yet the fundamental principle remains unchanged: cinema's greatest power lies not in its ability to tell stories, but in its capacity to create moments of genuine human connection through shared emotional and intellectual engagement. In a world that often seems designed to keep us apart, this power becomes more precious than ever.

Sources:

Christian Heinke

middle aged nerd. writer of thriller & sci-fi novels with short sentences. podcaster. german with california in his heart.

https://heinke.digital

Intersubjectivity in Film

Pleasantville (1998)

Dark Matter (2016)