Hollywood film producers have always been interested in depicting alternative worlds of particular types and types. We could consider as a good example the techniques in which contrasting worlds are embodied in Michel Gondry's Eternal Sunshine of Spotless Mind, and how in this film the main character Joel Barish tries to regulate his memories and not let them disappear . Watching this film, we find ourselves unwittingly involved in the alternate world of Joel's memories. The entire aspect of the film's successful depiction of parallel reality at first glance seems to be related to the specific filming or editing technique of the film; However, the philosophy of the film depends on the sequence of cinematic techniques and how the audience reacts to the particular scenes in the film and the emotions the film evokes in them. So what are the emotions that the character of Joel Barish played by Jim Carrey evokes in us? Most of the film makes the audience feel pity, insult, even confusion and other general feelings towards him. Joel's appearance and behavior create the image of a typical "coward" – unkempt appearance, unshaven face and mess in a cheap apartment; but we don't just feel sorry for him. Towards the end of the film, we realize that we feel grief and anger towards him, or, in other words, that we do not sympathize (feel for someone), but empathize (feel towards someone). The audience's emotional response to Joel thus converges with Alex Neill's theory of empathic response to cinematic fiction, which he describes in his essay "Empathy and (Film) Fiction". While we discover new feelings with the main character of Eternal Sunshine, we mainly sympathize with a particular character or plot point, enlarge...... middle of paper ......are in trouble including the mixture of movements of the film evokes them, or focuses mainly on broad aspects of the story without analyzing its concept. Although some concepts in Neill's theory still leave room for improvement, it can be argued that his focus has reached the level of usefulness for understanding the internal approaches of different films. Apparently, Alex Neill and Michel Gondry construct their projects by giving the audience the opportunity to use their imagination and improve their emotional education. Works cited: Neill, Alex. “Empathy and (cinematic) fiction.” Philosophy of Cinema and Cinema: An Anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print. Gaut, Berys. “Identification and emotion in narrative film.” Passionate views. Linda Williams. “Body of cinema: gender, genre and excess”