ABSTRACT
The C-series and the R-series are often conflated in the debates about films. A clue of this is the use of expressions such as 'camera movement' or 'editing cut' to designate not only something experienced in the C-series but also something in the R-series. This chapter argues that a proper account of the film experience requires that one treats the C-series and the R-series as distinct and yet connected. It explains the distinctness and the connection of two sources of pleasure in the film experience, namely, the exploration of a world and the appreciation of an artifact. Discursive non-diegetic features can contribute only to the C-pleasure, not to the R-pleasure. While perceptual features emphasize the perceptual dimension of the film experience, discursive features emphasize its cognitive dimension. Diegetic features play a key role in constituting the R-series. The distinction between diegetic and non-diegetic features allows to compare the two serieness model of film experience and appreciation with some alternative models.
