Can we classify films by anything other than genre?

As Neo swallows the blue pill, reality shifts, and the question arises: Can emotions reveal hidden truths about films? Let’s explore this new reality through Neo’s analysis.

Neo examines the Elbow Method and Silhouette Score graphs, from which he draws altered conclusions about clustering films by emotion:

• Elbow method: The graph is an illusion; no clear elbow exists, suggesting Neo should seek further insight from the silhouette score.

• Silhouette score: The scores, trapped between 0.13 and 0.17, imply overlapping clusters that defy clear separation. The peak at 6-7 clusters hints at a mysterious order, but entropy quickly follows.

Combining both methods:

• The Elbow Method suggests the system resists clear categorization.
• Emotions bleed into one another, reflecting the chaotic nature of the cinematic universe.

Neo determines that using 7 clusters fits this altered reality. As he will see later, each representing a dominant emotional archetype. Cluster 1 emanates anger, cluster 2 radiates joy, and so on.

After applying PCA on the mean of every emotion for each movie, Neo finds himself facing a strange, pyramidal structure—a projection from the 7-simplex that defies conventional understanding.

Neo takes a closer look at the data through clustering analysis.

From here, Neo notices surreal patterns. Compared to the overall genre distribution, Action and Thriller films are overrepresented in clusters dominated by anger. In films where joy is most prevalent, Drama, Romance, and Comedy seem overrepresented, while Thrillers and Horror films don’t show much joy. Comedy and Animation films tend to dominate when surprise is the most prominent emotion. Similar to cluster 2, films with high sadness are predominantly Drama and Romance. In cluster 5, which focuses on fear, Neo observes that Thrillers and Horror films are well-represented. Horror films also dominate when disgust is the most prevalent emotion. Finally, the cluster with the highest representation of Comedy, Family/Animation, and Fantasy-Sci-Fi films aligns with a more neutral emotional profile.

Neo also looked at how each genre is partitioned between different cluster to better understand the overall distribution of clusters across categories. These graphs supports Neo’s analysis from above.

Analysis of cluster distribution by genre and emotions

Cluster 1 - Anger

• Highest proportion of anger: 30.3% in Action/Adventure, 26.5% in Thriller.
• Neo’s analysis:
  Action and adventure films generate anger primarily through themes of conflict, rivalry, and injustice. Physical confrontations, chases, and revenge-driven plots are hallmarks of the genre, evoking strong emotional reactions.
  In dramas, anger arises from frustration caused by unjust or tragic situations faced by the characters. This often reflects the audience’s identification with societal, familial, or personal conflicts.

  Example:

Cluster 2 - Joy

• Highest proportion of joy: 13.7% in Comedy, 20% in Romance.
• Neo’s analysis:
  While comedies aim to evoke joy, the proportion remains relatively low (13.7%), likely because humor is often intertwined with surprise or neutral elements, creating a mixed emotional experience.
  In romances, joy is more prominent (20%) as these films focus on moments of happiness, fulfilled love, and positive resolutions of relational conflicts.

Cluster 4 - Sadness

• Highest proportion of sadness: 20.7% in Romance, 19.5% in Drama.
• Neo’s analysis:
  Dramas delve into emotions of loss, hardship, and human sacrifice, often presenting realistic emotional conflicts that evoke authentic sadness in viewers.
  Romances, while generating joy, also explore themes of heartbreak, unfulfilled love, or emotional dilemmas, leading to sadness when relational conflicts remain unresolved.

Cluster 6 - Disgust

• Highest proportion of disgust: 30.3% in Horror.
• Neo’s analysis:
  Horror films often elicit disgust through graphic, violent, or disturbing imagery. Disgust is tied to instinctual reactions of repulsion and self-preservation, amplifying the sensory impact of the viewing experience.

General conclusion

Neo’s analysis of film clusters and their dominant emotions highlights a strong correlation between genres and emotional experiences, aligning with emotion theory:

• Negative emotions (anger, sadness, fear, disgust):
  • Predominant in drama, thriller, and horror genres, which explore themes of tension, loss, and threat.
  • These emotions often provide catharsis for the audience and deepen immersion into the narrative.
• Positive emotions (joy, surprise):
  • Prevalent in comedy, romance, and family/animation genres, which aim to create lighthearted, enjoyable, or awe-inspiring experiences.
  • Optimistic storytelling and visually enchanting worlds help stimulate positive emotional responses.
• Emotional neutrality:
  • Associated with family and comedy films, neutrality allows for accessible, emotionally balanced content suited for a wide audience.

Neo concludes that the clusters reflect an emotional specialization within film genres. Each genre serves a unique emotional purpose, eliciting specific psychological and physiological responses in viewers. This diversity underscores cinema’s powerful ability to provoke varied and complex emotional reactions.