Thinking About Movies (1)

8/7/2019 Thinking About Movies (1)

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Thinking About Movies,Thinking About Movies,Theory, and MeaningTheory, and MeaningThinking About Movies,Thinking About Movies,Theory, and MeaningTheory, and Meaning

Dr NeilDr Neil SequeiraSequeiraDr NeilDr Neil SequeiraSequeira


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Movies and MeaningMovies and MeaningMovies and MeaningMovies and Meaning Movies can mean a great number of things, and there is plenty ofMovies can mean a great number of things, and there is plenty ofroom for argument about those meanings.room for argument about those meanings.

Question to ask yourself:Question to ask yourself:

WhyWhy has a movie stimulated myhas a movie stimulated my

intellectual orintellectual oremotional responses?emotional responses?

we always want to go beyond we always want to go beyond I loved, liked or hatedI loved, liked or hated

itit to find convincing reasons within the movie to support our to find convincing reasons within the movie to support our

opinions.opinions.

we are going to examine and apply the manywe are going to examine and apply the many

different theoretical and critical models that give us a psychologydifferent theoretical and critical models that give us a psychologyperspectiveperspective

Movies can mean a great number of things, and there is plenty ofMovies can mean a great number of things, and there is plenty ofroom for argument about those meanings.room for argument about those meanings.

Question to ask yourself:Question to ask yourself:

WhyWhy has a movie stimulated myhas a movie stimulated my

intellectual orintellectual oremotional responses?emotional responses?

we always want to go beyond we always want to go beyond I loved, liked or hatedI loved, liked or hated

itit to find convincing reasons within the movie to support our to find convincing reasons within the movie to support our

opinions.opinions.

we are going to examine and apply the manywe are going to examine and apply the many

different theoretical and critical models that give us a psychologydifferent theoretical and critical models that give us a psychologyperspectiveperspective


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Film Theory and Film CriticismFilm Theory and Film CriticismFilm Theory and Film CriticismFilm Theory and Film Criticism

>> Film TheoryFilm Theory is a way at looking at movies from a particular intellectualis a way at looking at movies from a particular intellectual

or ideological perspective. It is concerned with many areas ofor ideological perspective. It is concerned with many areas of

investigation, including:investigation, including:

1.1. The film text itselfThe film text itself -- its structural properties and meanings.its structural properties and meanings.2.2. The film texts connection to culture and history.The film texts connection to culture and history.

3.3. The relationship between film and reality and antiThe relationship between film and reality and anti--realismrealism

(formalist theory).(formalist theory).

4.4. The production of movies as the result of art, economics or technology.The production of movies as the result of art, economics or technology.

5.5. Our psychological reaction to the world projected on the screen.Our psychological reaction to the world projected on the screen.

>>Film CriticismFilm Criticism is generally focused on evaluating a films artistic meritis generally focused on evaluating a films artistic merit

and appeal to the public.and appeal to the public.

>> Film Theory

Film Theory is a way at looking at movies from a particular intellectualis a way at looking at movies from a particular intellectual

or ideological perspective. It is concerned with many areas ofor ideological perspective. It is concerned with many areas of

investigation, including:investigation, including:

1.1. The film text itselfThe film text itself -- its structural properties and meanings.its structural properties and meanings.2.2. The film texts connection to culture and history.The film texts connection to culture and history.

3.3. The relationship between film and reality and antiThe relationship between film and reality and anti--realismrealism

(formalist theory).(formalist theory).

4.4. The production of movies as the result of art, economics or technology.The production of movies as the result of art, economics or technology.

5.5. Our psychological reaction to the world projected on the screen.Our psychological reaction to the world projected on the screen.

>>Film CriticismFilm Criticism is generally focused on evaluating a films artistic meritis generally focused on evaluating a films artistic merit

and appeal to the public.and appeal to the public.


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AF

ilms Meaning IAF

ilms Meaning IAF

ilms Meaning IAF

ilms Meaning I Explicit MeaningExplicit Meaning-- everything that a movieeverything that a movie

presents on its surface. Our ability to noticepresents on its surface. Our ability to noticeassociations and relationships among the manyassociations and relationships among the many

pieces of information in the film.pieces of information in the film.

Implicit MeaningImplicit Meaning-- an association, connection,an association, connection,or inference that a viewer makes on the basisor inference that a viewer makes on the basis

of the explicit story and form of the film.of the explicit story and form of the film.Lying below the surface of explicit meaningLying below the surface of explicit meaning--closest to the everyday sense of the wordclosest to the everyday sense of the wordmeaning.meaning.

Exp

licit MeaningExplicit Meaning-- everything that a movieeverything that a moviepresents on its surface. Our ability to noticepresents on its surface. Our ability to noticeassociations and relationships among the manyassociations and relationships among the many

pieces of information in the film.pieces of information in the film.

Implicit MeaningImplicit Meaning-- an association, connection,an association, connection,or inference that a viewer makes on the basisor inference that a viewer makes on the basis

of the explicit story and form of the film.of the explicit story and form of the film.Lying below the surface of explicit meaningLying below the surface of explicit meaning--closest to the everyday sense of the wordclosest to the everyday sense of the wordmeaning.meaning.


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A Films Meaning IIA Films Meaning IIA Films Meaning IIA Films Meaning II

Ideological MeaningIdeological Meaning--body of ideas expressedbody of ideas expressed

by a film that reflects beliefs on the part ofby a film that reflects beliefs on the part of

filmmakers, characters, or the time and placefilmmakers, characters, or the time and place

of the movies setting.of the movies setting.

Ideological meaningIdeological meaning is the product of social,is the product of social,

political, economic, religious, philosophical,political, economic, religious, philosophical,psychological, and sexual forces that shape thepsychological, and sexual forces that shape the

filmmakers perspectives.filmmakers perspectives.

Ideologi

cal MeaningIdeological Meaning--body of ideas expressedbody of ideas expressed

by a film that reflects beliefs on the part ofby a film that reflects beliefs on the part of

filmmakers, characters, or the time and placefilmmakers, characters, or the time and place

of the movies setting.of the movies setting.

Ideological meaningIdeological meaning is the product of social,is the product of social,

political, economic, religious, philosophical,political, economic, religious, philosophical,psychological, and sexual forces that shape thepsychological, and sexual forces that shape the

filmmakers perspectives.filmmakers perspectives.


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Critical ApproachesCritical ApproachesCritical ApproachesCritical Approaches Traditional criticismTraditional criticism attempts to place a value on a work of art, a genre or anattempts to place a value on a work of art, a genre or an

artist; to establish hierarchies of good and bad and to distinguish betweenartist; to establish hierarchies of good and bad and to distinguish between

timeless classics and forgettable pulp or tasteless junk.timeless classics and forgettable pulp or tasteless junk.

FormalismFormalism is a traditional type of criticism; when applied to film, it entailsis a traditional type of criticism; when applied to film, it entails

seeing cinematic form as the most important source of a movies meaning, andseeing cinematic form as the most important source of a movies meaning, and

attempting to explain how the filmmakers techniques create the moviesattempting to explain how the filmmakers techniques create the movies

layered meanings.layered meanings.

We might contrastWe might contrast formalismformalism which looks inward at a film with thewhich looks inward at a film with the

contextualismcontextualism which looks outward at critical theories.which looks outward at critical theories.

TheoriesTheories offer specific world views (e.g.offer specific world views (e.g. feminismfeminism,,MarxismMarxism) that make) that makeexpansive claims to explain the place of works of art within a larger context,expansive claims to explain the place of works of art within a larger context,

and they offer critical lenses into the implicit and ideological meanings withinand they offer critical lenses into the implicit and ideological meanings within

those works.those works.

Traditional criticismTraditional criticism attempts to place a value on a work of art, a genre or anattempts to place a value on a work of art, a genre or an

artist; to establish hierarchies of good and bad and to distinguish betweenartist; to establish hierarchies of good and bad and to distinguish between

timeless classics and forgettable pulp or tasteless junk.timeless classics and forgettable pulp or tasteless junk.

FormalismFormalism is a traditional type of criticism; when applied to film, it entailsis a traditional type of criticism; when applied to film, it entails

seeing cinematic form as the most important source of a movies meaning, andseeing cinematic form as the most important source of a movies meaning, and

attempting to explain how the filmmakers techniques create the moviesattempting to explain how the filmmakers techniques create the movies

layered meanings.layered meanings.

We might contrastWe might contrast formalismformalism which looks inward at a film with thewhich looks inward at a film with the

contextualismcontextualism which looks outward at critical theories.which looks outward at critical theories.

TheoriesTheories offer specific world views (e.g.offer specific world views (e.g. feminismfeminism,,MarxismMarxism) that make) that makeexpansive claims to explain the place of works of art within a larger context,expansive claims to explain the place of works of art within a larger context,

and they offer critical lenses into the implicit and ideological meanings withinand they offer critical lenses into the implicit and ideological meanings within

those works.those works.


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Interpretive FrameworksInterpretive FrameworksInterpretive FrameworksInterpretive Frameworks


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Mimesis and CatharsisMimesis and CatharsisMimesis and CatharsisMimesis and Catharsis Mimesis and CatharsisMimesis and Catharsis: In the Western tradition, the effect of art on: In the Western tradition, the effect of art on

people and society begins with the Greek philosophers and dramatists.people and society begins with the Greek philosophers and dramatists.On one side you hadOn one side you had most prominentlymost prominently PlatoPlato-- who viewed the arts aswho viewed the arts asdangerous in their potential influence.dangerous in their potential influence.

Plato opposed the idea ofPlato opposed the idea ofmimesis, the Greek word for the imitative, the Greek word for the imitative

representation of the world in art and literature.representation of the world in art and literature.

On the other side of the Greek debate were the defenders of art. In theOn the other side of the Greek debate were the defenders of art. In thePoeticsPoetics,, AristotleAristotle argued that humans acquire knowledge throughargued that humans acquire knowledge throughimitation. More famously, he used the termimitation. More famously, he used the term catharsiscatharsis--to describe ato describe atherapeutic bytherapeutic by--product of watching tragedy, which, through fear andproduct of watching tragedy, which, through fear and

pity, purged viewers of such emotions.pity, purged viewers of such emotions. e.g. In film studies, genres like horror, be.g. In film studies, genres like horror, b--moves, pornography andmoves, pornography and

violent films like Oliver Stonesviolent films like Oliver StonesNatural Born KillersNatural Born Killers (1994) or Mel(1994) or MelGibsonsGibsons The Passion ofthe ChristThe Passion ofthe Christ(2004) generate complex issues in(2004) generate complex issues indiscussions about film violence.discussions about film violence.

Mimesis and CatharsisMimesis and Catharsis: In the Western tradition, the effect of art on: In the Western tradition, the effect of art onpeople and society begins with the Greek philosophers and dramatists.people and society begins with the Greek philosophers and dramatists.On one side you hadOn one side you had most prominentlymost prominently PlatoPlato-- who viewed the arts aswho viewed the arts asdangerous in their potential influence.dangerous in their potential influence.

Plato opposed the idea ofPlato opposed the idea ofmimesis, the Greek word for the imitative, the Greek word for the imitative

representation of the world in art and literature.representation of the world in art and literature.

On the other side of the Greek debate were the defenders of art. In theOn the other side of the Greek debate were the defenders of art. In thePoeticsPoetics,, AristotleAristotle argued that humans acquire knowledge throughargued that humans acquire knowledge throughimitation. More famously, he used the termimitation. More famously, he used the term catharsiscatharsis--to describe ato describe atherapeutic bytherapeutic by--product of watching tragedy, which, through fear andproduct of watching tragedy, which, through fear and

pity, purged viewers of such emotions.pity, purged viewers of such emotions. e.g. In film studies, genres like horror, be.g. In film studies, genres like horror, b--moves, pornography andmoves, pornography and

violent films like Oliver Stonesviolent films like Oliver StonesNatural Born KillersNatural Born Killers (1994) or Mel(1994) or MelGibsonsGibsons The Passion ofthe ChristThe Passion ofthe Christ(2004) generate complex issues in(2004) generate complex issues indiscussions about film violence.discussions about film violence.


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Binary Oppositions(Dualism)Binary Oppositions(Dualism)Binary Oppositions(Dualism)Binary Oppositions(Dualism) According to structuralist anthropologistAccording to structuralist anthropologist Claude LeviClaude Levi-- StraussStrauss (b.(b.

1908), all human cultures share an underlying reliance on1908), all human cultures share an underlying reliance on dualismdualism, the, the

tendency to see the world in terms of opposingtendency to see the world in terms of opposing binary oppositionsbinary oppositions--

raw/cooked, nature/culture, man/woman, for example.raw/cooked, nature/culture, man/woman, for example.

In addition, eachIn addition, each binary oppositionbinary opposition reveals an underlying tension, areveals an underlying tension, a

potential conflict that myth or art tries to reconcile. The form of suchpotential conflict that myth or art tries to reconcile. The form of such

resolutions reflect the prevailing culture.resolutions reflect the prevailing culture.

e.g. In James Cameronse.g. In James Camerons TerminatorTerminatorfilms we see the machines vs.films we see the machines vs.

humanity. Inhumanity. In Terminator 2 (Terminator 2 (1991) the T1991) the T--800=human and T800=human and T--

1000=machine. In1000=machine. In Wizard of OzWizard of Oz(1939)(1939)Its A Wonderful LifeIts A Wonderful Life (1946)(1946)

we see rural vs. urban and (we see rural vs. urban and (Theres no place like home).Theres no place like home).

Dramatic conflict, in and of itself, createsDramatic conflict, in and of itself, creates binary oppositionsbinary oppositions..

According to structuralist anthropologistAccording to structuralist anthropologist Claude LeviClaude Levi-- StraussStrauss (b.(b.

1908), all human cultures share an underlying reliance on1908), all human cultures share an underlying reliance on dualismdualism, the, the

tendency to see the world in terms of opposingtendency to see the world in terms of opposing binary oppositionsbinary oppositions--

raw/cooked, nature/culture, man/woman, for example.raw/cooked, nature/culture, man/woman, for example.

In addition, eachIn addition, each binary oppositionbinary opposition reveals an underlying tension, areveals an underlying tension, a

potential conflict that myth or art tries to reconcile. The form of suchpotential conflict that myth or art tries to reconcile. The form of such

resolutions reflect the prevailing culture.resolutions reflect the prevailing culture.

e.g. In James Cameronse.g. In James Camerons TerminatorTerminatorfilms we see the machines vs.films we see the machines vs.

humanity. Inhumanity. In Terminator 2 (Terminator 2 (1991) the T1991) the T--800=human and T800=human and T--

1000=machine. In1000=machine. In Wizard of OzWizard of Oz(1939)(1939)Its A Wonderful LifeIts A Wonderful Life (1946)(1946)

we see rural vs. urban and (we see rural vs. urban and (Theres no place like home).Theres no place like home).

Dramatic conflict, in and of itself, createsDramatic conflict, in and of itself, creates binary oppositionsbinary oppositions..


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MAJOR FILM THEORIESMAJOR FILM THEORIES


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AuteurismAuteurismAuteurismAuteurism TheThe auteur theoryauteur theorypostulates that the film director is thepostulates that the film director is the

author of a film.author of a film.

AuteurismAuteurism has roots in 1920s France; its popularityhas roots in 1920s France; its popularitypeaked there in the 1950s with the influential film journalpeaked there in the 1950s with the influential film journalCahiers du cinemaCahiers du cinema, founded and edited by, founded and edited by Andre BazinAndre Bazin..

Contributors to this journal and early proponents of thisContributors to this journal and early proponents of thistheory (both as critics and directors) included the Newtheory (both as critics and directors) included the NewWave filmmakersWave filmmakers Francois Truffaut, JeanFrancois Truffaut, Jean--Luc Godard,Luc Godard,Eric Rohmer and Claude Chabrol.Eric Rohmer and Claude Chabrol.

A director must have made a significant body of filmsA director must have made a significant body of films(oeuvre(oeuvre) to be considered an auteur.) to be considered an auteur.

TheThe auteur theoryauteur theorypostulates that the film director is thepostulates that the film director is theauthor of a film.author of a film.

AuteurismAuteurism has roots in 1920s France; its popularityhas roots in 1920s France; its popularitypeaked there in the 1950s with the influential film journalpeaked there in the 1950s with the influential film journalCahiers du cinemaCahiers du cinema, founded and edited by, founded and edited by Andre BazinAndre Bazin..

Contributors to this journal and early proponents of thisContributors to this journal and early proponents of thistheory (both as critics and directors) included the Newtheory (both as critics and directors) included the NewWave filmmakersWave filmmakers Francois Truffaut, JeanFrancois Truffaut, Jean--Luc Godard,Luc Godard,Eric Rohmer and Claude Chabrol.Eric Rohmer and Claude Chabrol.

A director must have made a significant body of filmsA director must have made a significant body of films(oeuvre(oeuvre) to be considered an auteur.) to be considered an auteur.


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Auteurism IIAuteurism IIAuteurism IIAuteurism II A film directors style should be as distinctive as aA film directors style should be as distinctive as a

novelists and the cinematic style is the DNA by whichnovelists and the cinematic style is the DNA by whichthat author can be identified.that author can be identified.

In the 1960s, this auteur theory was promulgated by TheIn the 1960s, this auteur theory was promulgated by The

Village VoiceVillage Voice film criticfilm critic Andrew SarrisAndrew Sarris.. Despite its weaknesses,Despite its weaknesses, AuteurismAuteurism is a useful approachis a useful approach

to film criticism and helps identify those directors whoseto film criticism and helps identify those directors whosework displays ideological and stylistic consistency.work displays ideological and stylistic consistency.

A film directors style should be as distinctive as aA film directors style should be as distinctive as anovelists and the cinematic style is the DNA by whichnovelists and the cinematic style is the DNA by whichthat author can be identified.that author can be identified.

In the 1960s, this auteur theory was promulgated by TheIn the 1960s, this auteur theory was promulgated by The

Village VoiceVillage Voice film criticfilm critic Andrew SarrisAndrew Sarris.. Despite its weaknesses,Despite its weaknesses, AuteurismAuteurism is a useful approachis a useful approach

to film criticism and helps identify those directors whoseto film criticism and helps identify those directors whosework displays ideological and stylistic consistency.work displays ideological and stylistic consistency.


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Psychological Film Theories:Psychological Film Theories:Psychological Film Theories:Psychological Film Theories:

FREUDIANISMFREUDIANISM

SigmundFreudSigmundFreud, the Austrian founder of, the Austrian founder ofpsychoanalysis, believed that each person has apsychoanalysis, believed that each person has a

profoundly influential unconscious.profoundly influential unconscious.

A good deal of this unconscious manifests itselfA good deal of this unconscious manifests itselfthrough art, narratives and entertainment and thethrough art, narratives and entertainment and theventing of the unconscious is therapeutic andventing of the unconscious is therapeutic andcathartic.cathartic.

FREUDIANISMFREUDIANISM

SigmundFreudSigmundFreud, the Austrian founder of, the Austrian founder ofpsychoanalysis, believed that each person has apsychoanalysis, believed that each person has a

profoundly influential unconscious.profoundly influential unconscious.

A good deal of this unconscious manifests itselfA good deal of this unconscious manifests itselfthrough art, narratives and entertainment and thethrough art, narratives and entertainment and theventing of the unconscious is therapeutic andventing of the unconscious is therapeutic andcathartic.cathartic.


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Films with Notable FreudianFilms with Notable Freudian

InfluenceInfluence

Films with Notable FreudianFilms with Notable Freudian

InfluenceInfluence Ingmar BergmansIngmar Bergmans Fanny &Fanny & AlexanderAlexander((19821982))

Alfred HitchcocksAlfred HitchcocksSpellbound(1945Spellbound(1945) &) & VertigoVertigo

(1958)(1958)

Jacques TourneursJacques Tourneurs Cat People(1942Cat People(1942))

Fred WilcoxsFred Wilcoxs Forbidden Planet(1956Forbidden Planet(1956))

Ken RussellsKen RussellsAltered States(1980Altered States(1980))

Ingmar BergmansIngmar Bergmans Fanny &Fanny & AlexanderAlexander((19821982))

Alfred HitchcocksAlfred HitchcocksSpellbound(1945Spellbound(1945) &) & VertigoVertigo

(1958)(1958)

Jacques TourneursJacques Tourneurs Cat People(1942Cat People(1942))

Fred WilcoxsFred Wilcoxs Forbidden Planet(1956Forbidden Planet(1956))

Ken RussellsKen RussellsAltered States(1980Altered States(1980))


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Freudian Film TheoryFreudian Film TheoryFreudian Film TheoryFreudian Film Theory

Art may reveal emotional dynamics notArt may reveal emotional dynamics notdeliberately fashioned by the artist.deliberately fashioned by the artist.

Expressions of sexual desire in art are intertwinedExpressions of sexual desire in art are intertwinedwith incompletely suppressed aggression, fear andwith incompletely suppressed aggression, fear andguilt.guilt.

A critic can link an artwork and an artistsA critic can link an artwork and an artists

biographical background within an interpretationbiographical background within an interpretationthat reveals unconscious manifestations of desire,that reveals unconscious manifestations of desire,aggression, fear and guilt.aggression, fear and guilt.

Art may reveal emotional dynamics notArt may reveal emotional dynamics notdeliberately fashioned by the artist.deliberately fashioned by the artist.

Expressions of sexual desire in art are intertwinedExpressions of sexual desire in art are intertwinedwith incompletely suppressed aggression, fear andwith incompletely suppressed aggression, fear andguilt.guilt.

A critic can link an artwork and an artistsA critic can link an artwork and an artists

biographical background within an interpretationbiographical background within an interpretationthat reveals unconscious manifestations of desire,that reveals unconscious manifestations of desire,aggression, fear and guilt.aggression, fear and guilt.


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Psychological Theories:Psychological Theories:

Cognitive PsychologyCognitive Psychology

Psychological Theories:Psychological Theories:

Cognitive PsychologyCognitive Psychology Draws on perceptual psychology and aesthetic studiesDraws on perceptual psychology and aesthetic studies

to explain how we fit elements into orderly patterns,to explain how we fit elements into orderly patterns,

experience joy and sadness through art.experience joy and sadness through art. Film scholars David Bordwell and Noel Carroll areFilm scholars David Bordwell and Noel Carroll are

among the principal proponents of this movement.among the principal proponents of this movement.

A viewer is seen as an active participant in theA viewer is seen as an active participant in the

creation of a films effects and meaning.creation of a films effects and meaning.

Draws on perceptual psychology and aesthetic studiesDraws on perceptual psychology and aesthetic studies

to explain how we fit elements into orderly patterns,to explain how we fit elements into orderly patterns,

experience joy and sadness through art.experience joy and sadness through art. Film scholars David Bordwell and Noel Carroll areFilm scholars David Bordwell and Noel Carroll are

among the principal proponents of this movement.among the principal proponents of this movement.

A viewer is seen as an active participant in theA viewer is seen as an active participant in the

creation of a films effects and meaning.creation of a films effects and meaning.


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Cognitive Psychology IICognitive Psychology IICognitive Psychology IICognitive Psychology II

A foundational idea of cognitive psychology is thatA foundational idea of cognitive psychology is that

people usepeople useschemas tschemas to make sense of a perceptuallyo make sense of a perceptually

incomplete world.incomplete world. SchemasSchemas are mental concepts that filter ourare mental concepts that filter our

experience.experience.

e.g.e.g. Films such as M.Night ShyamalansFilms such as M.Night ShyamalansSixthSixth

Sense(1999)Sense(1999) requires an active viewer to determinerequires an active viewer to determine

the meaning of the films conclusion.the meaning of the films conclusion.

A foundational idea of cognitive psychology is thatA foundational idea of cognitive psychology is that

people usepeople useschemas tschemas to make sense of a perceptuallyo make sense of a perceptually

incomplete world.incomplete world. SchemasSchemas are mental concepts that filter ourare mental concepts that filter our

experience.experience.

e.g.e.g. Films such as M.Night ShyamalansFilms such as M.Night ShyamalansSixthSixth

Sense(1999)Sense(1999) requires an active viewer to determinerequires an active viewer to determine

the meaning of the films conclusion.the meaning of the films conclusion.


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Ideological TheoryIdeological Theory--An OverviewAn OverviewIdeological TheoryIdeological Theory--An OverviewAn Overview

Ideological criticism attends to the formal andIdeological criticism attends to the formal andinformal beliefs, feelings and habits of individuals,informal beliefs, feelings and habits of individuals,

groups and nations.groups and nations. Films reflect ideology.Films reflect ideology.

e.g.e.g. Triumph of the WillTriumph of the Will(1935)(1935)

Why We FightWhy We Fight(1943(1943--1945)1945)

Malcolm XMalcolm X

Ideological criticism attends to the formal andIdeological criticism attends to the formal andinformal beliefs, feelings and habits of individuals,informal beliefs, feelings and habits of individuals,

groups and nations.groups and nations. Films reflect ideology.Films reflect ideology.

e.g.e.g. Triumph of the WillTriumph of the Will(1935)(1935)

Why We FightWhy We Fight(1943(1943--1945)1945)

Malcolm XMalcolm X


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Marxist Film TheoryMarxist Film TheoryMarxist Film TheoryMarxist Film Theory

MarxismMarxism: a body of doctrine developed by: a body of doctrine developed byMarx and Hegel in the mid 19Marx and Hegel in the mid 19thth Century.Century.

It consists of:It consists of:

1.1. A philosophical view of humanity that isA philosophical view of humanity that isnonnon--religious.religious.

2.2. A theory of history (thesis + antithesis=A theory of history (thesis + antithesis=synthesis).synthesis).

3.3. An economic and political program.An economic and political program.

MarxismMarxism: a body of doctrine developed by: a body of doctrine developed byMarx and Hegel in the mid 19Marx and Hegel in the mid 19thth Century.Century.

It consists of:It consists of:

1.1. A philosophical view of humanity that isA philosophical view of humanity that isnonnon--religious.religious.

2.2. A theory of history (thesis + antithesis=A theory of history (thesis + antithesis=synthesis).synthesis).

3.3. An economic and political program.An economic and political program.


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Marxist Film Theory IIMarxist Film Theory IIMarxist Film Theory IIMarxist Film Theory II

The idea of the proletariat as hero, rising upThe idea of the proletariat as hero, rising upand creating a classless society with prosperityand creating a classless society with prosperity

for all was reflected in the films of:for all was reflected in the films of:>>DovshenkoDovshenko

>Eisenstein>Eisenstein

>Pudovkin>Pudovkin>Vertov>Vertov

>Shub>Shub

The idea of the proletariat as hero, rising upThe idea of the proletariat as hero, rising upand creating a classless society with prosperityand creating a classless society with prosperity

for all was reflected in the films of:for all was reflected in the films of:>>DovshenkoDovshenko

>Eisenstein>Eisenstein

>Pudovkin>Pudovkin>Vertov>Vertov

>Shub>Shub


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Q. Marxism:Q. Marxism:Q. Marxism:Q. Marxism:

a.a. Is a system of thought developed in the midIs a system of thought developed in the mid

nineteenth century by Karl Marx andnineteenth century by Karl Marx and

Friedrich Engels.Friedrich Engels.

b.b. Describes the emergence of a classlessDescribes the emergence of a classless

society.society.

c.c. Provides a critical method for analyzingProvides a critical method for analyzing

power structures and class inequities.power structures and class inequities.

d.d. All of the aboveAll of the above

e.e. a and c onlya and c only

a.a. Is a system of thought developed in the midIs a system of thought developed in the mid

nineteenth century by Karl Marx andnineteenth century by Karl Marx and

Friedrich Engels.Friedrich Engels.

b.b. Describes the emergence of a classlessDescribes the emergence of a classless

society.society.

c.c. Provides a critical method for analyzingProvides a critical method for analyzing

power structures and class inequities.power structures and class inequities.

d.d. All of the aboveAll of the above

e.e. a and c onlya and c only


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FeminismFeminismFeminismFeminism

FeminismFeminismbrings the following issues to thebrings the following issues to theforefront in the movies:forefront in the movies:

1.1. A desire for equality with men in society and theA desire for equality with men in society and thearts.arts.

2.2. The roles of women in society.The roles of women in society.

3.3. The patriarchal structure of society.The patriarchal structure of society.

4.4. The stereotypes of women.The stereotypes of women.5.5. Gender discrimination.Gender discrimination.

FeminismFeminismbrings the following issues to thebrings the following issues to theforefront in the movies:forefront in the movies:

1.1. A desire for equality with men in society and theA desire for equality with men in society and thearts.arts.

2.2. The roles of women in society.The roles of women in society.

3.3. The patriarchal structure of society.The patriarchal structure of society.

4.4. The stereotypes of women.The stereotypes of women.5.5. Gender discrimination.Gender discrimination.


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Feminist Film TheoryFeminist Film TheoryFeminist Film TheoryFeminist Film Theory

Feminist film theoryFeminist film theory focuses on howfocuses on howthe media, and film, in particular,the media, and film, in particular,have represented women in ahave represented women in acondescending manner as:condescending manner as:

1.1. Objects of desire.Objects of desire.

2.2. Passive beings.Passive beings.

3.3. Dependent on men.Dependent on men.

Feminist film theoryFeminist film theory focuses on howfocuses on howthe media, and film, in particular,the media, and film, in particular,have represented women in ahave represented women in acondescending manner as:condescending manner as:

1.1. Objects of desire.Objects of desire.

2.2. Passive beings.Passive beings.

3.3. Dependent on men.Dependent on men.


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Feminist Film Theory IIFeminist Film Theory IIFeminist Film Theory IIFeminist Film Theory II

Two of the most important issuesTwo of the most important issues

facingfacing feminist film theoryfeminist film theory are:are:1.1. Deterministic Feminist TheoryDeterministic Feminist Theory

2.2. LiberalLiberal-- Progressive Feminist TheoryProgressive Feminist Theory

Two of the most important issuesTwo of the most important issues

facingfacing feminist film theoryfeminist film theory are:are:1.1. Deterministic Feminist TheoryDeterministic Feminist Theory

2.2. LiberalLiberal-- Progressive Feminist TheoryProgressive Feminist Theory


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Deterministic Feminist TheoryDeterministic Feminist TheoryDeterministic Feminist TheoryDeterministic Feminist Theory

Many feminist critiques focus on whether womanMany feminist critiques focus on whether womanand men can challenge patriarchy.and men can challenge patriarchy.

Laura Mulveys landmark essay Laura Mulveys landmark essay Visual PleasureVisual Pleasureand Narrative Cinemaand Narrative Cinema(1975) stated patriarchy is(1975) stated patriarchy isa systemic condition that is virtuallya systemic condition that is virtuallyunchangeable because classic narrative cinemaunchangeable because classic narrative cinema

views women as objects to be watched.views women as objects to be watched. This theory was popular in the 1960s and earlyThis theory was popular in the 1960s and early

1970s.1970s.

Many feminist critiques focus on whether womanMany feminist critiques focus on whether womanand men can challenge patriarchy.and men can challenge patriarchy.

Laura Mulveys landmark essay Laura Mulveys landmark essay Visual PleasureVisual Pleasureand Narrative Cinemaand Narrative Cinema(1975) stated patriarchy is(1975) stated patriarchy isa systemic condition that is virtuallya systemic condition that is virtuallyunchangeable because classic narrative cinemaunchangeable because classic narrative cinema

views women as objects to be watched.views women as objects to be watched. This theory was popular in the 1960s and earlyThis theory was popular in the 1960s and early

1970s.1970s.


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LiberalLiberal--Progressive FeministProgressive Feminist

Film TheoryFilm Theory

LiberalLiberal--Progressive FeministProgressive Feminist

Film TheoryFilm Theory Molly Haskells From Reverence to Rape: TheMolly Haskells From Reverence to Rape: The

Treatment of Women in the Movies(1974)Treatment of Women in the Movies(1974)

surveys the unrealistic depiction of women insurveys the unrealistic depiction of women infilms.films.

She states that most depictions of women in filmsShe states that most depictions of women in filmsmade before 1960 are demeaning.made before 1960 are demeaning.

Haskell argues that stereotypes should be replacedHaskell argues that stereotypes should be replacedwith images that are real and positive.with images that are real and positive.

Today we embrace this form of feminist theory.Today we embrace this form of feminist theory.

Molly Haskells From Reverence to Rape: TheMolly Haskells From Reverence to Rape: TheTreatment of Women in the Movies(1974)Treatment of Women in the Movies(1974)

surveys the unrealistic depiction of women insurveys the unrealistic depiction of women infilms.films.

She states that most depictions of women in filmsShe states that most depictions of women in filmsmade before 1960 are demeaning.made before 1960 are demeaning.

Haskell argues that stereotypes should be replacedHaskell argues that stereotypes should be replacedwith images that are real and positive.with images that are real and positive.

Today we embrace this form of feminist theory.Today we embrace this form of feminist theory.


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Cultural StudiesCultural StudiesCultural StudiesCultural Studies

In the 1920s The Frankfurt Institute attempted toIn the 1920s The Frankfurt Institute attempted toincorporate politics, culture, psychology and sociology intoincorporate politics, culture, psychology and sociology intoa single discipline. (i.e.a single discipline. (i.e. cultural studiescultural studies))

Works by intellectuals such as Siegfried Kracauers Works by intellectuals such as Siegfried Kracauers FromFromCaligari to Hitler: A Psychological History of GermanCaligari to Hitler: A Psychological History of GermanFilmFilm(1947) opened a new perspective on movies as a(1947) opened a new perspective on movies as apopular art rather than a traditional one.popular art rather than a traditional one.

A branch of cultural studies calledA branch of cultural studies called reception theoryreception theory studiesstudies

how the audience received the movie (not its director orhow the audience received the movie (not its director ortheme) evaluating age, politics, sex, class, ethnicity, sociotheme) evaluating age, politics, sex, class, ethnicity, socio--economics etc.economics etc.

Cultural studies goes deep beneath the surface of a movie toCultural studies goes deep beneath the surface of a movie toexplore implicit and hidden meanings.explore implicit and hidden meanings.

In the 1920s The Frankfurt Institute attempted toIn the 1920s The Frankfurt Institute attempted toincorporate politics, culture, psychology and sociology intoincorporate politics, culture, psychology and sociology intoa single discipline. (i.e.a single discipline. (i.e. cultural studiescultural studies))

Works by intellectuals such as Siegfried Kracauers Works by intellectuals such as Siegfried Kracauers FromFromCaligari to Hitler: A Psychological History of GermanCaligari to Hitler: A Psychological History of GermanFilmFilm(1947) opened a new perspective on movies as a(1947) opened a new perspective on movies as apopular art rather than a traditional one.popular art rather than a traditional one.

A branch of cultural studies calledA branch of cultural studies called reception theoryreception theory studiesstudies

how the audience received the movie (not its director orhow the audience received the movie (not its director ortheme) evaluating age, politics, sex, class, ethnicity, sociotheme) evaluating age, politics, sex, class, ethnicity, socio--economics etc.economics etc.

Cultural studies goes deep beneath the surface of a movie toCultural studies goes deep beneath the surface of a movie toexplore implicit and hidden meanings.explore implicit and hidden meanings.


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APPLIED

REA

DINGSAPP

LIEDR

EA

DINGS


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Applied ReadingsApplied ReadingsApplied ReadingsApplied Readings

Lets now look at a number of films that areLets now look at a number of films that arewell suited to specific critical andwell suited to specific critical and

theoretical approaches.theoretical approaches. Although all approaches are broadlyAlthough all approaches are broadly

applicable to almost any film, some moviesapplicable to almost any film, some movies

yield more interesting answers to particularyield more interesting answers to particularkinds of questions, as the case studies thatkinds of questions, as the case studies thatfollow illustrate.follow illustrate.

Lets now look at a number of films that areLets now look at a number of films that arewell suited to specific critical andwell suited to specific critical and

theoretical approaches.theoretical approaches. Although all approaches are broadlyAlthough all approaches are broadly

applicable to almost any film, some moviesapplicable to almost any film, some movies

yield more interesting answers to particularyield more interesting answers to particularkinds of questions, as the case studies thatkinds of questions, as the case studies thatfollow illustrate.follow illustrate.


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Mimesis and Catharsis: Die HardMimesis and Catharsis: Die HardMimesis and Catharsis: Die HardMimesis and Catharsis: Die Hard

Die Hard(1988Die Hard(1988) presents violence in a form that) presents violence in a form thatcan entertain and horrify. It becomes perfectcan entertain and horrify. It becomes perfect

fodder for a mimesis/catharsis debate.fodder for a mimesis/catharsis debate. To exploreTo explore Die HardsDie Hards treatment of violence, youtreatment of violence, you

could do basic research into the films receptioncould do basic research into the films reception--reading reviews, criticism, marketing materials,reading reviews, criticism, marketing materials,

interviews of viewers and fansinterviews of viewers and fans--to learn how theto learn how theviolence was received and then beginviolence was received and then beginyouryouranalysisanalysis..

Die Hard(1988Die Hard(1988) presents violence in a form that) presents violence in a form thatcan entertain and horrify. It becomes perfectcan entertain and horrify. It becomes perfect

fodder for a mimesis/catharsis debate.fodder for a mimesis/catharsis debate. To exploreTo explore Die HardsDie Hards treatment of violence, youtreatment of violence, you

could do basic research into the films receptioncould do basic research into the films reception--reading reviews, criticism, marketing materials,reading reviews, criticism, marketing materials,

interviews of viewers and fansinterviews of viewers and fans--to learn how theto learn how theviolence was received and then beginviolence was received and then beginyouryouranalysisanalysis..


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Binary Oppositions: Die HardBinary Oppositions: Die HardBinary Oppositions: Die HardBinary Oppositions: Die Hard

Compose a list after watching the film such as:Compose a list after watching the film such as:

>Man versus Woman>Man versus Woman

>Black versus White>Black versus White

>West Coast versus East>West Coast versus East

>Local Cops versus FBI>Local Cops versus FBI

>USA versus Japan>USA versus Japan>USA versus Europe>USA versus Europe

>Outlaw Hero versus Official Hero>Outlaw Hero versus Official Hero

Compose a list after watching the film such as:Compose a list after watching the film such as:

>Man versus Woman>Man versus Woman

>Black versus White>Black versus White

>West Coast versus East>West Coast versus East

>Local Cops versus FBI>Local Cops versus FBI

>USA versus Japan>USA versus Japan>USA versus Europe>USA versus Europe

>Outlaw Hero versus Official Hero>Outlaw Hero versus Official Hero


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Cognitive Psychology: VertigoCognitive Psychology: VertigoCognitive Psychology: VertigoCognitive Psychology: Vertigo

Alfred Hitchcocks brilliantAlfred Hitchcocks brilliant VertigoVertigo(1958)is(1958)isinterestinginteresting cognitivelycognitively for:for:

1.1. POV depiction of vertigo effects.POV depiction of vertigo effects.2.2. Visually dramatic dream sequences.Visually dramatic dream sequences.

3.3. The viewers sharing of Scotties visions ofThe viewers sharing of Scotties visions ofMadeleine and then his memory of her throughMadeleine and then his memory of her throughJudy.Judy.

4.4. Our ability to remember and recognize aOur ability to remember and recognize afamiliar face or profile.familiar face or profile.

Alfred Hitchcocks brilliantAlfred Hitchcocks brilliant VertigoVertigo(1958)is(1958)isinterestinginteresting cognitivelycognitively for:for:

1.1. POV depiction of vertigo effects.POV depiction of vertigo effects.2.2. Visually dramatic dream sequences.Visually dramatic dream sequences.

3.3. The viewers sharing of Scotties visions ofThe viewers sharing of Scotties visions ofMadeleine and then his memory of her throughMadeleine and then his memory of her throughJudy.Judy.

4.4. Our ability to remember and recognize aOur ability to remember and recognize afamiliar face or profile.familiar face or profile.


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Auteurism:Auteurism: Rear Window(1954Rear Window(1954))Auteurism:Auteurism: Rear Window(1954Rear Window(1954))

HitchcocksHitchcocks film is a good example of how thefilm is a good example of how the

director, together with his cast and crew created adirector, together with his cast and crew created a

unified work.unified work. HitchcockHitchcockis anis an auteurauteurbecause he is a directorbecause he is a director

who manifestswho manifests a consistency of stylea consistency of style( e.g.( e.g.

shooting in a confined space)shooting in a confined space) and themeand theme (e.g.(e.g.interest in voyeurism)interest in voyeurism) across his filmsacross his films..

Film SlangFilm Slang

OeuvreOeuvre: the total body of work of a filmmaker: the total body of work of a filmmaker

HitchcocksHitchcocks film is a good example of how thefilm is a good example of how the

director, together with his cast and crew created adirector, together with his cast and crew created a

unified work.unified work. HitchcockHitchcockis anis an auteurauteurbecause he is a directorbecause he is a director

who manifestswho manifests a consistency of stylea consistency of style( e.g.( e.g.

shooting in a confined space)shooting in a confined space) and themeand theme (e.g.(e.g.interest in voyeurism)interest in voyeurism) across his filmsacross his films..

Film SlangFilm Slang

OeuvreOeuvre: the total body of work of a filmmaker: the total body of work of a filmmaker


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Marxism:Marxism:MetropolisMetropolis((19271927))Marxism:Marxism:MetropolisMetropolis((19271927))

Fritz LangsFritz Langs silent masterpiece was the high point ofsilent masterpiece was the high point ofGerman expressionism.German expressionism.

The sciThe sci--fi story presents a society with a socialfi story presents a society with a socialstructure much like that described bystructure much like that described by Marx.Marx.

The owners live above ground and the slave workersThe owners live above ground and the slave workerstoil beneath.toil beneath.

Marxisms central tenet of exploitation of workers byMarxisms central tenet of exploitation of workers bythose who control capital is evident.those who control capital is evident.

Hitlers favorite film!Hitlers favorite film!

Fritz LangsFritz Langs silent masterpiece was the high point ofsilent masterpiece was the high point ofGerman expressionism.German expressionism.

The sciThe sci--fi story presents a society with a socialfi story presents a society with a socialstructure much like that described bystructure much like that described by Marx.Marx.

The owners live above ground and the slave workersThe owners live above ground and the slave workerstoil beneath.toil beneath.

Marxisms central tenet of exploitation of workers byMarxisms central tenet of exploitation of workers bythose who control capital is evident.those who control capital is evident.

Hitlers favorite film!Hitlers favorite film!


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Feminism:Feminism: Thelma andThelma and

LouiseLouise(1991)(1991)

Feminism:Feminism: Thelma andThelma and

LouiseLouise(1991)(1991)Ridley ScottsRidley Scotts film is the first big budgetfilm is the first big budgetHollywood film to assert a feminist perspectiveHollywood film to assert a feminist perspective

with its details debatable:with its details debatable:1.1. The film traffics in stereotypes of maleThe film traffics in stereotypes of male

chauvinism.chauvinism.

2.2. Thelma and LouiseThelma and Louise take on traditional maletake on traditional male

roles.roles.

Ridley ScottsRidley Scotts film is the first big budgetfilm is the first big budgetHollywood film to assert a feminist perspectiveHollywood film to assert a feminist perspective

with its details debatable:with its details debatable:1.1. The film traffics in stereotypes of maleThe film traffics in stereotypes of male

chauvinism.chauvinism.

2.2. Thelma and LouiseThelma and Louise take on traditional maletake on traditional male

roles.roles.


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Feminism: Thelma and Louise IIFeminism: Thelma and Louise IIFeminism: Thelma and Louise IIFeminism: Thelma and Louise II

33.Thelma and Louise.Thelma and Louise develop into proud, fearless,develop into proud, fearless,satisfied people.satisfied people.

4. The road picture and western overlap feminist4. The road picture and western overlap feministconcerns.concerns.

5. The film condemns criminal justice and its failure5. The film condemns criminal justice and its failureto protect women victimized by sexual assault.to protect women victimized by sexual assault.

6. The movie deflects the traditional Hollywood6. The movie deflects the traditional Hollywoodmale gaze by allowing T&L to ogle handsome J.D.male gaze by allowing T&L to ogle handsome J.D.((Brad PittBrad Pitt).).

33.Thelma and Louise.Thelma and Louise develop into proud, fearless,develop into proud, fearless,satisfied people.satisfied people.

4. The road picture and western overlap feminist4. The road picture and western overlap feministconcerns.concerns.

5. The film condemns criminal justice and its failure5. The film condemns criminal justice and its failureto protect women victimized by sexual assault.to protect women victimized by sexual assault.

6. The movie deflects the traditional Hollywood6. The movie deflects the traditional Hollywoodmale gaze by allowing T&L to ogle handsome J.D.male gaze by allowing T&L to ogle handsome J.D.((Brad PittBrad Pitt).).


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Cultural Studies:Cultural Studies: Repo Man(1984Repo Man(1984))Cultural Studies:Cultural Studies: Repo Man(1984Repo Man(1984))

Alex CoxsAlex Coxs lowlow-- budget, dark comedy speaksbudget, dark comedy speakseloquently about social conditions and attitudes.eloquently about social conditions and attitudes.

It depicts subcultures of disaffected youth and:It depicts subcultures of disaffected youth and:1.1. Examines the punk movement.Examines the punk movement.

2.2. Urban legends.Urban legends.

3.3.

Conspiracy theories.Conspiracy theories.4.4. Provides a deadpan commentary on AmericanProvides a deadpan commentary on American

social conditions and attitudes.social conditions and attitudes.

Alex CoxsAlex Coxs lowlow-- budget, dark comedy speaksbudget, dark comedy speakseloquently about social conditions and attitudes.eloquently about social conditions and attitudes.

It depicts subcultures of disaffected youth and:It depicts subcultures of disaffected youth and:1.1. Examines the punk movement.Examines the punk movement.

2.2. Urban legends.Urban legends.

3.3.

Conspiracy theories.Conspiracy theories.4.4. Provides a deadpan commentary on AmericanProvides a deadpan commentary on American

social conditions and attitudes.social conditions and attitudes.


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Buzz WordsBuzz WordsBuzz WordsBuzz Words

CultCult:: any cause, person or object admired by aany cause, person or object admired by aminority.minority.

Cult MovieCult Movie:: Repo ManRepo Man is a cult film which meansis a cult film which meansthat it has a small but devoted audience thatthat it has a small but devoted audience thatadmires and values certain aspects of this film.admires and values certain aspects of this film.

Cult MoviesCult Movies are either so bad theyre good (e.g.are either so bad theyre good (e.g.

worlds worst director Ed Wood) or are theworlds worst director Ed Wood) or are theobjects of a quasiobjects of a quasi--religious worship (religious worship (Star WarsStar Wars).).

CultCult:: any cause, person or object admired by aany cause, person or object admired by aminority.minority.

Cult MovieCult Movie:: Repo ManRepo Man is a cult film which meansis a cult film which meansthat it has a small but devoted audience thatthat it has a small but devoted audience thatadmires and values certain aspects of this film.admires and values certain aspects of this film.

Cult MoviesCult Movies are either so bad theyre good (e.g.are either so bad theyre good (e.g.

worlds worst director Ed Wood) or are theworlds worst director Ed Wood) or are theobjects of a quasiobjects of a quasi--religious worship (religious worship (Star WarsStar Wars).).


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Other Forms ofFilm AnalysisOther Forms ofFilm AnalysisOther Forms ofFilm AnalysisOther Forms ofFilm Analysis

GENRE STUDYGENRE STUDY

The study of individual films within a certain genre.The study of individual films within a certain genre.

One simple but very effective way of analyzingOne simple but very effective way of analyzinggenre convention and a particular films placegenre convention and a particular films place

within a genre is to break down a movie into threewithin a genre is to break down a movie into three

discrete temporal aspects: (continued)discrete temporal aspects: (continued)

GENRE STUDYGENRE STUDY

The study of individual films within a certain genre.The study of individual films within a certain genre.

One simple but very effective way of analyzingOne simple but very effective way of analyzinggenre convention and a particular films placegenre convention and a particular films place

within a genre is to break down a movie into threewithin a genre is to break down a movie into three

discrete temporal aspects: (continued)discrete temporal aspects: (continued)


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GENRE STUDYGENRE STUDYGENRE STUDYGENRE STUDY

1.1. Story FormulaStory Formula--overall plot structure found in aoverall plot structure found in a

genre. e.g. In the science fiction genre consider thegenre. e.g. In the science fiction genre consider the

plot ofplot of E.TE.T.(1982), or.(1982), orStarmanStarman(1984)(1984)2.2. Scene ConventionScene Convention--In science fiction, the scene inIn science fiction, the scene in

which the visitor exhibits otherworldly powers.which the visitor exhibits otherworldly powers.

3.3. Iconic ShotIconic Shot--an immediately recognizable visualan immediately recognizable visual

symbol. In Scisymbol. In Sci--Fi this might be homesick shots ofFi this might be homesick shots of

the night sky.the night sky.

1.1. StoryFormulaStory Formula--overall plot structure found in aoverall plot structure found in a

genre. e.g. In the science fiction genre consider thegenre. e.g. In the science fiction genre consider the

plot ofplot of E.TE.T.(1982), or.(1982), orStarmanStarman(1984)(1984)2.2. Scene ConventionScene Convention--In science fiction, the scene inIn science fiction, the scene in

which the visitor exhibits otherworldly powers.which the visitor exhibits otherworldly powers.

3.3. Iconic ShotIconic Shot--an immediately recognizable visualan immediately recognizable visual

symbol. In Scisymbol. In Sci--Fi this might be homesick shots ofFi this might be homesick shots of

the night sky.the night sky.


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Q. _______ is the overall plotQ. _______ is the overall plot

structure found in a genre.structure found in a genre.

Q. _______ is the overall plotQ. _______ is the overall plot

structure found in a genre.structure found in a genre.

a.a. Scene typeScene typeb.b. Iconic imageIconic image

c.c. Story formulaStory formula

d.d. Stylistic frameworkStylistic framework

e.e. Rhetorical layoutRhetorical layout

a.a. Scene typeScene typeb.b. Iconic imageIconic image

c.c. Story formulaStory formula

d.d. Stylistic frameworkStylistic framework

e.e. Rhetorical layoutRhetorical layout


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Film SlangFilm SlangFilm SlangFilm Slang

AA media franchisemedia franchise is anis an intellectualintellectual

propertyproperty involvinginvolving an original work of fiction.an original work of fiction.

Multiple sequels are often planned well inMultiple sequels are often planned well inadvance and, in the case of motion pictures,advance and, in the case of motion pictures,

actors and directors often sign multiactors and directors often sign multi--film dealsfilm deals

to ensure their participation.to ensure their participation. e.g.e.g. The Scary Movie(2001The Scary Movie(2001--20062006) franchise.) franchise.

AA media franchisemedia franchise is anis an intellectualintellectual

propertyproperty involvinginvolving an original work of fiction.an original work of fiction.

Multiple sequels are often planned well inMultiple sequels are often planned well inadvance and, in the case of motion pictures,advance and, in the case of motion pictures,

actors and directors often sign multiactors and directors often sign multi--film dealsfilm deals

to ensure their participation.to ensure their participation. e.g.e.g. The Scary Movie(2001The Scary Movie(2001--20062006) franchise.) franchise.


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Genre Homage & HybridizationGenre Homage & HybridizationGenre Homage & HybridizationGenre Homage & Hybridization

Wes CravensWes CravensScream(1996Scream(1996)echoes and plays)echoes and playshomage tohomage toPsychoPsycho(1960),(1960),Halloween(1978Halloween(1978)and)and

the horror genre itself.the horror genre itself. HybridizationHybridization: the tendency to combine genres in: the tendency to combine genres in

a single film.a single film.

e.g.e.g. Blade Runner(1982Blade Runner(1982)=thriller,sci)=thriller,sci--fi,adventurefi,adventure

&&The Matrix(1999The Matrix(1999)=action, adventure, illusionist)=action, adventure, illusionistscisci--fi.fi.

Wes CravensWes CravensScream(1996Scream(1996)echoes and plays)echoes and playshomage tohomage toPsychoPsycho(1960),(1960),Halloween(1978Halloween(1978)and)and

the horror genre itself.the horror genre itself. HybridizationHybridization: the tendency to combine genres in: the tendency to combine genres in

a single film.a single film.

e.g.e.g. Blade Runner(1982Blade Runner(1982)=thriller,sci)=thriller,sci--fi,adventurefi,adventure

&&The Matrix(1999The Matrix(1999)=action, adventure, illusionist)=action, adventure, illusionistscisci--fi.fi.


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Film History StudyFilm History StudyFilm History StudyFilm History Study

The term itselfsuggests a twoThe term itselfsuggests a two--part definition. Filmpart definition. Filmhistory involves the study ofthe phenomenon wehistory involves the study ofthe phenomenon wecommonly refer to as filmFurther it involvescommonly refer to as filmFurther it involves

studyingfilm from a particular perspective and withstudyingfilm from a particular perspective and withparticular goals in mindparticular goals in mind--perspective and goals thatperspective and goals thatare historical.are historical.

Film historians Douglas Gomery and Robert C. Allen from Film historians Douglas Gomery and Robert C. Allen from Film HistoryFilm History,, TheoryTheory

and Practiceand Practice(1985)(1985)

The term itselfsuggests a twoThe term itselfsuggests a two--part definition. Filmpart definition. Filmhistory involves the study ofthe phenomenon wehistory involves the study ofthe phenomenon wecommonly refer to as filmFurther it involvescommonly refer to as filmFurther it involves

studyingfilm from a particular perspective and withstudyingfilm from a particular perspective and withparticular goals in mindparticular goals in mind--perspective and goals thatperspective and goals thatare historical.are historical.

Film historians Douglas Gomery and Robert C. Allen from Film historians Douglas Gomery and Robert C. Allen from Film HistoryFilm History,, TheoryTheory

and Practiceand Practice(1985)(1985)


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Film History Study IIFilm History Study IIFilm History Study IIFilm History Study II

In its broadest sense, film history, examines theIn its broadest sense, film history, examines the

development of the movies from their invention indevelopment of the movies from their invention in

1895 to the present.1895 to the present. Film historiography=Film historiography=different types of historicaltypes of historical

writing about the cinema.writing about the cinema.

Human conflict has been depicted in the movies notHuman conflict has been depicted in the movies not

only to entertain but to inspire and educate.only to entertain but to inspire and educate.

e.g.e.g.Saving Private Ryan(1998)Saving Private Ryan(1998)

In its broadest sense, film history, examines theIn its broadest sense, film history, examines the

development of the movies from their invention indevelopment of the movies from their invention in

1895 to the present.1895 to the present. Film historiography=Film historiography=different types of historicaltypes of historical

writing about the cinema.writing about the cinema.

Human conflict has been depicted in the movies notHuman conflict has been depicted in the movies not

only to entertain but to inspire and educate.only to entertain but to inspire and educate.

e.g.e.g.Saving Private Ryan(1998)Saving Private Ryan(1998)


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Types ofFilm Historiography IITypes ofFilm Historiography IITypes ofFilm Historiography IITypes ofFilm Historiography II

>The technological perspective:>The technological perspective:

opticsoptics

chemistrychemistry digital processingdigital processing

>Social history:>Social history:

movies and how they affect culture, society andmovies and how they affect culture, society andinfluence social change.influence social change.

>The technological perspective:>The technological perspective:

opticsoptics

chemistrychemistry digital processingdigital processing

>Social history:>Social history:

movies and how they affect culture, society andmovies and how they affect culture, society andinfluence social change.influence social change.


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THANK YOU!THANK YOU!

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