Sad Film Paradox Analysis

2 Theories on the sad film paradox and their characteristics
The following section summarizes different theoretical approaches that try to ex-plain the sad film paradox.
2.1 Catharsis Theory
Crying might be the result of negative emotions but it can indeed have a healing function and thus a positive effect (Trimble, 2012). Lazarus (1991) applied this general concept on film theory and the genre of tragedy. Therefore, sad films are considered to have a cathartic and cleansing result on mental health. Watching a drama movie makes the recipient cry, which leads to a sensation of relief (Lazarus, 1991).
It is also important to note that the expression of sad emotions by crying mostly leads to comforting actions by others. This form of attention

Both the “Terror Management Theory” by Goldenberg and the “Theory of social comparison” by Festinger highlight a functional approach (Gleich & Vogel, 2016). The reception of sad films enables the viewer to cope with threat and death in addition to providing the possibility to re-evaluate their own individual situation. Either serves a purpose and has a positive effect on the spectator’s mental health. According to both theories, the reception of sad films provides a certain benefit for the

Overlapping arguments and central empirical results state that the reception of sad films can indeed evoke positive feelings. The research on the sad film paradox varies in experiment design, which is why different studies come to varying conclusions and produce diverse theoretical approaches. More recent methods mostly focus on the concept of appreciation through meta-emotions, first developed by Oliver & Bartsch (2010). This positive reception can occur simultaneously with negative feelings about a particularly sad movie scene, which further supports the contradicting character of the paradox (Oliver & Bartsch, 2010). The field of research develops rapidly, which is why there is no comprehensive methodology on the subject yet (Gleich & Vogel,