Understanding Andrew Tudor's Model of Identification: A Comprehensive Guide Andrew Tudor's Model of Identification\, developed in his 1977 book "Film as a Narrative Art\," is a foundational framework for understanding how audiences connect with characters in film. This model\, a vital component of film studies\, has been influential in shaping our understanding of narrative and its psychological impact on viewers. Andrew Tudor's Model of Identification: Key Components Tudor's model\, grounded in the theories of psychoanalysis and semiotics\, posits that identification occurs through two primary mechanisms: 1. Sympathetic Identification: This involves the audience experiencing a direct emotional connection with a character\, often through shared experiences\, values\, or perspectives. Tudor describes it as "a feeling of 'being with' the character\, of feeling what the character is feeling." This type of identification is largely based on empathy and emotional resonance. 2. Ideological Identification: This form of identification is more abstract and involves the audience aligning themselves with the character's worldview\, political beliefs\, or social values. It is characterized by the audience's sense of "being in agreement" with the character's perspective\, even if their emotional experiences differ. Analyzing Tudor's Model: Applications and Implications Tudor's model provides a valuable tool for analyzing how film narratives engage audiences. By understanding these different forms of identification\, we can gain insights into: Character Development and Motivation: Analyzing how characters are presented and their actions can reveal the intended avenues for audience identification. Narrative Structure and Plot Devices: The model helps us understand how narrative choices\, such as point of view or character arcs\, influence the audience's emotional and intellectual engagement. Thematic and Social Commentary: Tudor's model allows us to examine how films use identification to explore societal issues\, values\, and power dynamics. Examples of Identification in Film Let's examine how Tudor's model operates in practice through a few examples: "The Shawshank Redemption" (1994): The audience experiences strong sympathetic identification with Andy Dufresne\, a character wrongfully imprisoned and enduring immense hardship. We share his pain\, hope\, and resilience\, forging a deep emotional connection. "The Godfather" (1972): While we may not condone Don Vito Corleone's methods\, his commitment to family and code of honor resonates with the audience's understanding of loyalty and respect. This creates a sense of ideological identification despite his criminal activities. "Thelma & Louise" (1991): The film invites viewers to sympathetically identify with Thelma and Louise\, two women escaping societal constraints and embracing freedom. However\, their increasingly criminal actions might generate a sense of ideological dissonance for some audiences. Extending Tudor's Model: Contemporary Applications While Tudor's model remains relevant\, contemporary scholars have expanded upon it by considering additional aspects: Interpersonal Identification: This form of identification emerges from the relationships between characters within the narrative\, particularly in ensemble casts where audience members might identify with various characters based on their interactions. Meta-Identification: This form of identification extends beyond the narrative itself\, encouraging viewers to engage with the film's themes\, historical context\, or artistic choices\, promoting a deeper level of critical engagement. Digital Media and Audience Participation: With the rise of interactive media and social engagement\, contemporary discussions have emerged on how these elements impact audience identification\, particularly in relation to "fan communities" and online forums. FAQ: Addressing Common Questions Q: Can a viewer experience both forms of identification simultaneously? A: Absolutely! Audiences can experience both sympathetic and ideological identification simultaneously\, particularly in complex narratives with characters exhibiting both relatable human emotions and strong ideologies. Q: Is Tudor's model applicable to other forms of media? A: While initially developed for film\, Tudor's model can be applied to various narrative forms\, including literature\, theater\, and television. The principles of sympathetic and ideological identification remain fundamental to how audiences engage with characters and stories across different media. Q: Does the model account for audience diversity and individual experiences? A: While Tudor's model provides a framework\, individual viewers' experiences and cultural backgrounds heavily influence their identification with characters and narratives. The model is not meant to be a rigid set of rules but rather a lens through which we can analyze and understand these complex processes. Conclusion Andrew Tudor's Model of Identification provides a crucial framework for understanding how audiences connect with characters and narratives. By recognizing the distinct forms of identification - sympathetic and ideological - we gain valuable insights into the emotional and intellectual engagement with stories. While the model is adaptable to various media and evolving audience experiences\, its core principles remain relevant and insightful. It encourages critical analysis and promotes a deeper understanding of the intricate relationship between narrative\, character\, and audience. References: Tudor\, Andrew. _Film as a Narrative Art_. Twayne Publishers\, 1977. Metz\, Christian. _The Imaginary Signifier: Psychoanalysis and the Cinema_. Indiana University Press\, 1982. Dyer\, Richard. _Stars_. British Film Institute\, 1979. Bordwell\, David. _Narration in the Fiction Film_. University of Wisconsin Press\, 1985.