The relationships between the expressiveness of sympathy-empathy and pretense have become a significant issue in the debate about emotional responses to cinematic fiction. Given their complexity, many scholars have found it useful to represent them in diagrams. With his essay “Empathy and (Film) Fiction”, Alex Neill seeks to develop a new theory for analyzing fiction and, above all, the audience's emotional responses to it. The project of this essay is represented with the aim of showing the public the significant value of emotional responses to cinematic fiction. From my point of view, in the thesis of his project he asks a simple question: "Why does fiction (film) evoke emotions in the audience?", further building the project in a very simple and intelligent way. Tracing the origins of this problem, he distinguishes between two types of emotional responses, sympathy and empathy, as separate concepts in order to understand the influence of both types of emotional responses on fiction. However, relying primarily on this unsupported discrepancy between two concepts and the influence of the concept of “identification,” Neill finds himself unable to trace sympathy as a valid response to pretense. This difficulty leads Neill to argue throughout the best part of the text that empathy is the key emotional factor in the reaction to (cinematic) fiction and that it is a type of emotional response most valuable to audiences. To support his point Neill explains possible reasons why people respond sympathetically or empathetically to fiction and how these responses are related to each other. He divides his research into three parts. For obvious reasons the first part clarifies the terms empathy and sympathy. He states that “with the sympathetic areas… in the center of the card… d, including the lack of sympathy/empathy response and its negative outcomes, are topics for future research that can help us develop our understanding of emotional responses. to narrative and emotional education. The fact that most of the concepts related to the question raised in the text can refer to numerous types of processes implies the need and development of other theories and research. Therefore, in my opinion, in his essay “Empathy and (Film) Fiction” Alex Neill well studied the concept of identification, empathy and emotional response to film and, moreover, visualized the new “fresh” understanding of the significant value of le empathetic responses. Works Cited Neill, Alex. “Empathy and (cinematic) fiction”. Philosophy of Film and Cinema: An Anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Press.