McCormick, S. (2020). The temporal elements of emotional identification with film characters (Master’s thesis, University of Colorado. https://mountainscholar.org/items/4619dcd4-d1e2-4f3e-4f3b-730ccf2fd93e
The thesis The Temporal Elements of Emotional Identification with Film Characters by S. McCormick looks at how our sense of time while watching a film influences how strongly we connect with characters. It is a theoretical study, meaning there is no short film or creative project attached. The thesis starts by setting up the research question, then brings in psychological theories about time perception and combines them with film theory on character emotions and immersion. Finally, the author discusses how time can shape emotional reactions in narrative cinema and why that matters for film studies. So the whole thing is more of an intellectual exploration than a practical filmmaking work.
In terms of the “artifact” part, this thesis really doesn’t have one. Everything exists on the page. That makes access easy, but it also limits what kind of evaluation we can do. There’s no practical demonstration, no production notes, nothing like that. The documentation is clear regarding the theory, but of course the connection between concept and filmmaking practice remains abstract. Honestly, you sometimes wish the author had taken one or two well known scenes and broken them down in detail, or even experimented with editing to show the point. But here, the focus stays purely academic. That’s fine if the program accepts theoretical theses, but in a film direction context it may feel a little incomplete.
The overall presentation is professional. The writing looks structured and the formatting is consistent. A few sentences get long, and sometimes the ideas take a moment to click, but that’s pretty common in theory heavy academic work. The topic choice is actually quite refreshing. Time perception and emotional engagement are usually studied separately, so putting them together brings a new angle without trying to sound “revolutionary”. It’s more like: here’s a niche idea that deserves attention. That’s a mature level of innovation.
Regarding independence, the author clearly read widely and formed their own line of reasoning. You can see original thinking in how sources are brought together. Still, since there is no empirical study or creative experiment, the independence is mainly intellectual rather than practical. It’s essentially a high-quality literature based thesis rather than a mixed method or production research project.
The structure works well. Chapters unfold logically, ideas build gradually, and the transitions between psychology and film theory are handled smoothly. Every now and then, one section could be shorter because the point was already made, but nothing major. The communication style is mostly clear, although a bit academic at times, with the typical long paragraphs people tend to write when they want to sound serious. That said, the meaning stays understandable and the argument doesn’t get lost. The scope is appropriate: the author didn’t try to cover every emotional theory ever written, which keeps the work focused and realistic.
The thesis shows attention to detail: references are done properly, terminology is introduced cleanly, and there are no distracting grammar problems. The literature selection is strong, mixing cognitive psychology, film theory, and audience studies. It’s not just surface level sources, so the foundation feels reliable. The author really did their homework.
Stepping back, the thesis makes a thoughtful contribution to how we understand emotional engagement in cinema. The key strength is that it opens up a less commonly discussed aspect of viewing: not just what we feel, but when we feel it and how our inner sense of time affects connection to characters. The main weakness is simply the lack of practical demonstration, which sometimes makes the work feel a bit theoretical and distant from actual directing practice. You don’t get that handson sense of “here’s how to use this when making a film”.
Still, as a master’s project in theoretical film analysis, it’s convincing, well researched and carefully developed. It shows critical thinking, academic discipline, and a clear interest in film psychology. With a little more concrete application, it could even be the start of bigger research or creative experimentation in emotional timing and cinematic immersion.
*To improve readability and clarity, I used GPT 5 as a language assistance tool, while all ideas, analysis, and final decisions in the text are my own
