My Octopus Teacher : Learning from an octopus to overcome a pandemic

Main Article Content

José Luis Valhondo Crego

Abstract

This article aims to analyze the documentary My Octopus Teacher (MOT) from the point of view of the viewer’s engagement with the protagonist in the context of the Covid-19 pandemic. An integral definition of the concept of engagement is used, including variables related to the plot and the receiver of the story. The content of the documentary is analyzed by applying the theoretical categories of the concept of character engagement. MOT can function as a story of empowerment for the viewer who has suffered the loneliness and lack of sociability produced by the pandemic and its effects.

Article Details


Author Biography

José Luis Valhondo Crego, Universidad de Extremadura

José Luis Valhondo-Crego is a professor in the Faculty of Documentation and Communication Sciences at the University of Extremadura. He holds a PhD in Communication from the Universidad Rey Juan Carlos in Madrid and a BA in Psychology from the University of Salamanca and a Master's Degree in Journalism from the University of the Basque Country. His line of research is related to Political Communication, Cinematic Narrative and scientific storytelling.

References

» Balint K. y Kovács, A. (2016). Focalization, Attachment, and Film Viewers’ Responses to Film Characters: Experimental Design with Qualitative Data Collection. En CarrieLynn D. y Christopher J. (Eds.). Making Sense of Cinema. Empirical Studies in to Film Spectators and Spectatorship. New York: Bloomsbury Publishing, pp. 187-210

» Braidotti, R. (2016). Posthuman critical theory. En D. Banerji y M. R. Paranjape (Eds.) Critical posthumanism and planetary futures. pp. 13-32. India, Springer.

» Crenshaw, K. (2017). On Intersectionality: Essential Writings. Faculty Books. Consultado el 2 de mayo de 2022. En línea: https://scholarship.law.columbia.edu/books/255.

» Dancyger, K., y Rush, J. (2013). Alternative Scriptwriting: Beyond the Hollywood Formula (5th ed.). Consultado el 2 de mayo de 2022. En línea: https://doi.org/10.4324/9780240522470.

» Deleuze, G. (1986). The Time-Image. US, University of Minnesota Press.

» Fukuyama, F. (1993). The End of History and the Last Man. UK, Penguin.

» Field, S. (1994). El libro del guión: Fundamentos de la escritura de guiones (M. Heras, Trad.). Madrid, Plot Ediciones.

» Genette, G. (1972). Figures III. París, SEUIL.

» Godfrey-Smith, P. (2016). Other Minds: The Octopus, the Sea, and the Deep Origins of Consciousness. Nueva York, Farrar, Straus and Giroux.

» James, W. (1950). The Principles of Psychology, Vol. 1 (Revised ed. edition). Nueva York, Dover Publications.

» Jost, F., y Gaudreault, A. (1995). El relato cinematográfico. Barcelona, Ediciones Paidós.

» Hoffner, C., y Buchanan, M. (2005). Young Adults’ Wishful Identification With Television Characters: The Role of Perceived Similarity and Character Attributes. Media Psychology, 7(4), pp. 325-351. Consultado el 2 de mayo de 2022. En línea: https://doi.org/10.1207/S1532785XMEP0704_2

» Kross, E. (2021). Chatter: The Voice in Our Head, Why It Matters, and How to Harness It. Nueva York, Crown.

» My Octopus Teacher (2020). Dirigido por Pippa Ehrlich y James Reed. Netflix. Consultado el 25 de febrero de 2022.

» My Octopus Teacher. (s. f.). Sea Change Project. Consultado el 23 de marzo de 2022. En línea: https://seachangeproject.com/my-octopus-teacher/

» Nichols, B. (2010). Introduction to Documentary (Second edition). Bloomington, Indiana University Press.

» Ross, N. (2021). My Octopus Teacher, Posthumanism, and Posthuman Education: A Pedagogical Conceptualization. Journal of Curriculum Theorizing, 36(2), pp. 1-15.

» Sloterdijk, P. (1994). En el mismo barco/ In the same boat. España, Siruela.

» Wright, A. (2013). Monstrosity: The human monster in visual culture. I.B. Tauris. Consultado el 02/05/2022. En línea: https://westminsterresearch.westminster.ac.uk/item/8z229/monstrosity-the-human-monster-in-visual-cultur