Abstract

High artistic achievements were repeatedly connected with poetry in the tradition of Western aesthetical thought, and the poetry with eliciting emotions. The same has happened within the tradition of film reviewing and theorising: poetry has been repeatedly evoked as a paradigmatic artistic achievement of particular films. But among the different affective states that can be elicited in humans by arts, attribution of ‘poetry’ typically addresses the eliciting and articulation of particular general moods, not the specific, episodic, short-term emotions. In this paper, specified are the differences among emotions and moods, and how a distinct mood is achieved is demonstrated by the close analysis of the introductory descriptive scene in the film Citizen Kane. However, the crucial question is how very different and heterogeneous stylistic means pointed out in the analysis of the scene could elicit a particular, unique, holistic mood. In short, the answer is given by understanding that in the same way in which the moods selectively regulate our relations toward the world, choosing for the perception mood-congruent features of the world to sustain a particular mood, so the filmmakers choose a repertory of stylistic solutions congruent with the selectivity of the intended mood to elicit it in the immersed film viewer.