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the two characters.
The failure to elicit cognitive identification and pro-attitudes
In La luna, the conformity of the plot and characters to traditional patterns of canonical
narratives does not result in close viewer engagement with the developing action. This failure
can be explained through the cognitive notion that viewers perceive narrative events not only
as chains of causes and effects, but they also draw on their cultural knowledge in evaluating
them, (Branigan, 1992: 27) formulating hypotheses based 'on life as experienced through the
probabilities of his or her society' (Branigan, 1992: 30). In this respect the disjunction of the
film's incest theme from viewers' knowledge of social interaction generates dissociation
from the ongoing action; additionally, the recurring narrative patterns referred to earlier may
cue uncomfortable cognitive expectations in scenes where Caterina and Joe are alone. From
their initial evaluations of her character, viewers are unlikely to engage emotionally or
cognitively with Caterina since the egocentricity and dubious motives of her actions will
induce aversive responses, hi this context, if filmic situations are negatively evaluated by
viewers, 'the cognitive activities then produce mental models for reducing the affects and
emotions' (Grodal, 1997: 87). This concept illustrates why La luna short-circuits the
emotional response expected from viewers who detach themselves from the proceedings, a
response aggravated by the film's structure which - as will be shown - fails to generate a
pro-attitude in viewers towards its protagonists and story (Carroll, 1999: 31).
The short circuit between the film's content and viewers' reception of it occurs from
the prologue onwards, when a discrepancy evolves between the director s sympathetic
portrayal of Caterina's self-absorption, and the likelihood of viewers being more judgemental
towards her. These scenes, which typify the film's ambivalent visuals and subject matter, are
characterized by a light touch that viewers are unlikely to respond to. The camera's intrusive
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