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

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

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 intellectual is a way at looking at movies from a particular intellectual

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

investigation, including:investigation, including:

1.1. The film text itself - its structural properties and meanings. The film text itself - its structural properties and meanings.

2.2. The film text’s connection to culture and history.The film text’s connection to culture and history.

3.3. The relationship between film and reality and anti-realismThe relationship between film and reality and anti-realism

(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 film’s artistic merit is generally focused on evaluating a film’s artistic merit

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

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

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

investigation, including:investigation, including:

1.1. The film text itself - its structural properties and meanings. The film text itself - its structural properties and meanings.

2.2. The film text’s connection to culture and history.The film text’s connection to culture and history.

3.3. The relationship between film and reality and anti-realismThe relationship between film and reality and anti-realism

(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 film’s artistic merit is generally focused on evaluating a film’s artistic merit

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

The 3 Phases of Film TheoryThe 3 Phases of Film TheoryThe 3 Phases of Film TheoryThe 3 Phases of Film Theory1.1. The First Phase-The First Phase- a formalist movement that spanned from 1916-1935 a formalist movement that spanned from 1916-1935

and included the work of Hugo Munsterberg, Rudolph Arnheim, and and included the work of Hugo Munsterberg, Rudolph Arnheim, and

Sergei Eisenstein.Sergei Eisenstein.

1.1. The Second Phase-The Second Phase- a realist reaction to formalism that began with the a realist reaction to formalism that began with the

coming of sound in 1927 and continued to the 1960s and was coming of sound in 1927 and continued to the 1960s and was

primarily influenced by Andre Bazin and Siegfried Kracauer.primarily influenced by Andre Bazin and Siegfried Kracauer.

2.2. The Third Phase-The Third Phase- began in the late 1950s/1960s and continues today began in the late 1950s/1960s and continues today

and includes a wide range of new interpretive approaches, and includes a wide range of new interpretive approaches,

including: auteurism, feminism, psychoanalytic criticism, Marxism including: auteurism, feminism, psychoanalytic criticism, Marxism

and cultural studies. Among the seminal writers are and cultural studies. Among the seminal writers are

Laura Mulvey, David Bordwell, Stanley Cavell, and Christian Metz.Laura Mulvey, David Bordwell, Stanley Cavell, and Christian Metz.

1.1. The First Phase-The First Phase- a formalist movement that spanned from 1916-1935 a formalist movement that spanned from 1916-1935

and included the work of Hugo Munsterberg, Rudolph Arnheim, and and included the work of Hugo Munsterberg, Rudolph Arnheim, and

Sergei Eisenstein.Sergei Eisenstein.

1.1. The Second Phase-The Second Phase- a realist reaction to formalism that began with the a realist reaction to formalism that began with the

coming of sound in 1927 and continued to the 1960s and was coming of sound in 1927 and continued to the 1960s and was

primarily influenced by Andre Bazin and Siegfried Kracauer.primarily influenced by Andre Bazin and Siegfried Kracauer.

2.2. The Third Phase-The Third Phase- began in the late 1950s/1960s and continues today began in the late 1950s/1960s and continues today

and includes a wide range of new interpretive approaches, and includes a wide range of new interpretive approaches,

including: auteurism, feminism, psychoanalytic criticism, Marxism including: auteurism, feminism, psychoanalytic criticism, Marxism

and cultural studies. Among the seminal writers are and cultural studies. Among the seminal writers are

Laura Mulvey, David Bordwell, Stanley Cavell, and Christian Metz.Laura Mulvey, David Bordwell, Stanley Cavell, and Christian Metz.

A Film’s Meaning IA Film’s Meaning IA Film’s Meaning IA Film’s Meaning I• Explicit Meaning-Explicit Meaning- everything that a movie everything that a movie

presents on its surface. Our ability to notice presents on its surface. Our ability to notice associations and relationships among the many associations and relationships among the many pieces of information in the film.pieces of information in the film.

• Implicit Meaning-Implicit Meaning- an association, connection, an association, connection, or inference that a viewer makes on the basis or 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 meaning- Lying below the surface of explicit meaning- closest to the everyday sense of the word closest to the everyday sense of the word meaning.meaning.

• Explicit Meaning-Explicit Meaning- everything that a movie everything that a movie presents on its surface. Our ability to notice presents on its surface. Our ability to notice associations and relationships among the many associations and relationships among the many pieces of information in the film.pieces of information in the film.

• Implicit Meaning-Implicit Meaning- an association, connection, an association, connection, or inference that a viewer makes on the basis or 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 meaning- Lying below the surface of explicit meaning- closest to the everyday sense of the word closest to the everyday sense of the word meaning.meaning.

A Film’s Meaning IIA Film’s Meaning IIA Film’s Meaning IIA Film’s Meaning II

Ideological Meaning-Ideological Meaning- body of ideas expressed body of ideas expressed by a film that reflects beliefs on the part of by a film that reflects beliefs on the part of filmmakers, characters, or the time and place filmmakers, characters, or the time and place of the movie’s setting. of the movie’s 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 the psychological, and sexual forces that shape the filmmakers’ perspectives.filmmakers’ perspectives.

Ideological Meaning-Ideological Meaning- body of ideas expressed body of ideas expressed by a film that reflects beliefs on the part of by a film that reflects beliefs on the part of filmmakers, characters, or the time and place filmmakers, characters, or the time and place of the movie’s setting. of the movie’s 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 the psychological, and sexual forces that shape the filmmakers’ perspectives.filmmakers’ perspectives.

Interpretive FrameworksInterpretive FrameworksInterpretive FrameworksInterpretive Frameworks

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 had –most prominently On one side you had –most prominently PlatoPlato- who viewed the arts as - who viewed the arts as dangerous in their potential influence. dangerous in their potential influence.

• Plato opposed the idea of Plato opposed the idea of mimesis, 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 the On the other side of the Greek debate were the defenders of art. In the PoeticsPoetics, , AristotleAristotle argued that humans acquire knowledge through argued that humans acquire knowledge through imitation. More famously, he used the term imitation. More famously, he used the term catharsiscatharsis-to describe a -to describe a therapeutic by-product of watching tragedy, which, through fear and therapeutic by-product 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, b-moves, pornography and e.g. In film studies, genres like horror, b-moves, pornography and violent films like Oliver Stone’s violent films like Oliver Stone’s Natural Born KillersNatural Born Killers (1994) or Mel (1994) or Mel Gibson’s Gibson’s The Passion of the ChristThe Passion of the Christ (2004) generate complex issues in (2004) generate complex issues in discussions 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 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 had –most prominently On one side you had –most prominently PlatoPlato- who viewed the arts as - who viewed the arts as dangerous in their potential influence. dangerous in their potential influence.

• Plato opposed the idea of Plato opposed the idea of mimesis, 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 the On the other side of the Greek debate were the defenders of art. In the PoeticsPoetics, , AristotleAristotle argued that humans acquire knowledge through argued that humans acquire knowledge through imitation. More famously, he used the term imitation. More famously, he used the term catharsiscatharsis-to describe a -to describe a therapeutic by-product of watching tragedy, which, through fear and therapeutic by-product 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, b-moves, pornography and e.g. In film studies, genres like horror, b-moves, pornography and violent films like Oliver Stone’s violent films like Oliver Stone’s Natural Born KillersNatural Born Killers (1994) or Mel (1994) or Mel Gibson’s Gibson’s The Passion of the ChristThe Passion of the Christ (2004) generate complex issues in (2004) generate complex issues in discussions about film violence.discussions about film violence.

Binary Oppositions(Dualism)Binary Oppositions(Dualism)Binary Oppositions(Dualism)Binary Oppositions(Dualism)• According to structuralist anthropologist According to structuralist anthropologist Claude Levi- StraussClaude Levi- Strauss (b. (b.

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

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

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

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

potential conflict that myth or art tries to reconcile. The form of such potential 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 Cameron’s e.g. In James Cameron’s Terminator Terminator films we see the machines vs. films we see the machines vs.

humanity. In humanity. In Terminator 2 (Terminator 2 (1991) the T-800=“human” and T-1991) the T-800=“human” and T-

1000=“machine”. In 1000=“machine”. In Wizard of OzWizard of Oz (1939) (1939) It’s A Wonderful LifeIt’s A Wonderful Life

(1946) we see rural vs. urban and (“(1946) we see rural vs. urban and (“There’s no place like home”).There’s no place like home”).

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

• According to structuralist anthropologist According to structuralist anthropologist Claude Levi- StraussClaude Levi- Strauss (b. (b.

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

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

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

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

potential conflict that myth or art tries to reconcile. The form of such potential 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 Cameron’s e.g. In James Cameron’s Terminator Terminator films we see the machines vs. films we see the machines vs.

humanity. In humanity. In Terminator 2 (Terminator 2 (1991) the T-800=“human” and T-1991) the T-800=“human” and T-

1000=“machine”. In 1000=“machine”. In Wizard of OzWizard of Oz (1939) (1939) It’s A Wonderful LifeIt’s A Wonderful Life

(1946) we see rural vs. urban and (“(1946) we see rural vs. urban and (“There’s no place like home”).There’s no place like home”).

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

MAJOR FILM THEORIESMAJOR FILM THEORIES

AuteurismAuteurismAuteurismAuteurism • The The auteur theoryauteur theory postulates that the film director is the postulates that the film director is the

“author” of a film.“author” of a film.• AuteurismAuteurism has roots in 1920s France; its popularity has roots in 1920s France; its popularity

peaked there in the 1950s with the influential film journal peaked there in the 1950s with the influential film journal Cahiers du cinemaCahiers du cinema, founded and edited by , founded and edited by Andre BazinAndre Bazin..

• Contributors to this journal and early proponents of this Contributors to this journal and early proponents of this theory (both as critics and directors) included the New theory (both as critics and directors) included the New Wave filmmakers Wave filmmakers Francois Truffaut, Jean-Luc Godard, Francois Truffaut, Jean-Luc Godard, Eric Rohmer and Claude Chabrol.Eric Rohmer and Claude Chabrol.

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

• The The auteur theoryauteur theory postulates that the film director is the postulates that the film director is the

“author” of a film.“author” of a film.• AuteurismAuteurism has roots in 1920s France; its popularity has roots in 1920s France; its popularity

peaked there in the 1950s with the influential film journal peaked there in the 1950s with the influential film journal Cahiers du cinemaCahiers du cinema, founded and edited by , founded and edited by Andre BazinAndre Bazin..

• Contributors to this journal and early proponents of this Contributors to this journal and early proponents of this theory (both as critics and directors) included the New theory (both as critics and directors) included the New Wave filmmakers Wave filmmakers Francois Truffaut, Jean-Luc Godard, Francois Truffaut, Jean-Luc Godard, Eric Rohmer and Claude Chabrol.Eric Rohmer and Claude Chabrol.

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

Auteurism IIAuteurism IIAuteurism IIAuteurism II • A film director’s style should be as distinctive as a A film director’s style should be as distinctive as a

novelist’s and the cinematic style is the DNA by which novelist’s and the cinematic style is the DNA by which that author can be identified.that author can be identified.

• In the 1960s, this auteur theory was promulgated by The In the 1960s, this auteur theory was promulgated by The Village VoiceVillage Voice film critic film critic Andrew SarrisAndrew Sarris..

• In his influential book, In his influential book, The American CinemaThe American Cinema: : Directors and Directions, 1929- 1968Directors and Directions, 1929- 1968 his “pantheon” his “pantheon” of 14 directors has inspired a great many arguments.of 14 directors has inspired a great many arguments.

• Pauline Kael, a longtime critic for Pauline Kael, a longtime critic for The New YorkerThe New Yorker, , particularly took umbrage with Sarris and his list.particularly took umbrage with Sarris and his list.

• Despite its weaknesses, Despite its weaknesses, AuteurismAuteurism is a useful approach is a useful approach to film criticism and helps identify those directors whose to film criticism and helps identify those directors whose work displays ideological and stylistic consistency.work displays ideological and stylistic consistency.

• A film director’s style should be as distinctive as a A film director’s style should be as distinctive as a

novelist’s and the cinematic style is the DNA by which novelist’s and the cinematic style is the DNA by which that author can be identified.that author can be identified.

• In the 1960s, this auteur theory was promulgated by The In the 1960s, this auteur theory was promulgated by The Village VoiceVillage Voice film critic film critic Andrew SarrisAndrew Sarris..

• In his influential book, In his influential book, The American CinemaThe American Cinema: : Directors and Directions, 1929- 1968Directors and Directions, 1929- 1968 his “pantheon” his “pantheon” of 14 directors has inspired a great many arguments.of 14 directors has inspired a great many arguments.

• Pauline Kael, a longtime critic for Pauline Kael, a longtime critic for The New YorkerThe New Yorker, , particularly took umbrage with Sarris and his list.particularly took umbrage with Sarris and his list.

• Despite its weaknesses, Despite its weaknesses, AuteurismAuteurism is a useful approach is a useful approach to film criticism and helps identify those directors whose to film criticism and helps identify those directors whose work displays ideological and stylistic consistency.work displays ideological and stylistic consistency.

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

FREUDIANISMFREUDIANISM• Sigmund FreudSigmund Freud, the Austrian founder of , the Austrian founder of psychoanalysis, believed that each person has a psychoanalysis, believed that each person has a profoundly influential unconscious.profoundly influential unconscious.

• A good deal of this unconscious manifests itself A good deal of this unconscious manifests itself through art, narratives and entertainment and the through art, narratives and entertainment and the venting of the unconscious is therapeutic and venting of the unconscious is therapeutic and cathartic. cathartic.

FREUDIANISMFREUDIANISM• Sigmund FreudSigmund Freud, the Austrian founder of , the Austrian founder of psychoanalysis, believed that each person has a psychoanalysis, believed that each person has a profoundly influential unconscious.profoundly influential unconscious.

• A good deal of this unconscious manifests itself A good deal of this unconscious manifests itself through art, narratives and entertainment and the through art, narratives and entertainment and the venting of the unconscious is therapeutic and venting of the unconscious is therapeutic and cathartic. cathartic.

Films with Notable Freudian Films with Notable Freudian InfluenceInfluence

Films with Notable Freudian Films with Notable Freudian InfluenceInfluence

• Ingmar Bergman’s Ingmar Bergman’s Fanny &Fanny & AlexanderAlexander((19821982))• Alfred Hitchcock’s Alfred Hitchcock’s Spellbound(1945Spellbound(1945) & ) & VertigoVertigo

(1958)(1958)• Jacques Tourneur’s Jacques Tourneur’s Cat People(1942Cat People(1942))• Fred Wilcox’s Fred Wilcox’s Forbidden Planet(1956Forbidden Planet(1956))• Ken Russell’s Ken Russell’s Altered States(1980Altered States(1980))

• Ingmar Bergman’s Ingmar Bergman’s Fanny &Fanny & AlexanderAlexander((19821982))• Alfred Hitchcock’s Alfred Hitchcock’s Spellbound(1945Spellbound(1945) & ) & VertigoVertigo

(1958)(1958)• Jacques Tourneur’s Jacques Tourneur’s Cat People(1942Cat People(1942))• Fred Wilcox’s Fred Wilcox’s Forbidden Planet(1956Forbidden Planet(1956))• Ken Russell’s Ken Russell’s Altered States(1980Altered States(1980))

Freudian Film TheoryFreudian Film TheoryFreudian Film TheoryFreudian Film Theory

• Art may reveal emotional dynamics not Art may reveal emotional dynamics not deliberately fashioned by the artist.deliberately fashioned by the artist.

• Expressions of sexual desire in art are intertwined Expressions of sexual desire in art are intertwined with incompletely suppressed aggression, fear and with incompletely suppressed aggression, fear and guilt.guilt.

• A critic can link an artwork and an artist’s A critic can link an artwork and an artist’s biographical background within an interpretation biographical background within an interpretation that reveals unconscious manifestations of desire, that reveals unconscious manifestations of desire, aggression, fear and guilt.aggression, fear and guilt.

• Art may reveal emotional dynamics not Art may reveal emotional dynamics not deliberately fashioned by the artist.deliberately fashioned by the artist.

• Expressions of sexual desire in art are intertwined Expressions of sexual desire in art are intertwined with incompletely suppressed aggression, fear and with incompletely suppressed aggression, fear and guilt.guilt.

• A critic can link an artwork and an artist’s A critic can link an artwork and an artist’s biographical background within an interpretation biographical background within an interpretation that reveals unconscious manifestations of desire, that reveals unconscious manifestations of desire, aggression, fear and guilt.aggression, fear and guilt.

Psychological Theories:Psychological Theories: Cognitive PsychologyCognitive Psychology Psychological Theories:Psychological Theories: Cognitive PsychologyCognitive Psychology

• Draws on perceptual psychology and aesthetic studies Draws 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 are Film 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 the A viewer is seen as an active participant in the creation of a film’s effects and meaning.creation of a film’s effects and meaning.

• Draws on perceptual psychology and aesthetic studies Draws 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 are Film 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 the A viewer is seen as an active participant in the creation of a film’s effects and meaning.creation of a film’s effects and meaning.

Cognitive Psychology IICognitive Psychology IICognitive Psychology IICognitive Psychology II

• A foundational idea of cognitive psychology is that A foundational idea of cognitive psychology is that people use people use schemas tschemas to make sense of a perceptually o make sense of a perceptually incomplete world.incomplete world.

• Schemas Schemas are mental concepts that filter our are mental concepts that filter our experience.experience.

e.g. e.g. Films such as M.Night Shyamalan’s Films such as M.Night Shyamalan’s SixthSixth Sense(1999)Sense(1999) requires an active viewer to determine requires an active viewer to determine the meaning of the film’s conclusion.the meaning of the film’s conclusion.

• A foundational idea of cognitive psychology is that A foundational idea of cognitive psychology is that people use people use schemas tschemas to make sense of a perceptually o make sense of a perceptually incomplete world.incomplete world.

• Schemas Schemas are mental concepts that filter our are mental concepts that filter our experience.experience.

e.g. e.g. Films such as M.Night Shyamalan’s Films such as M.Night Shyamalan’s SixthSixth Sense(1999)Sense(1999) requires an active viewer to determine requires an active viewer to determine the meaning of the film’s conclusion.the meaning of the film’s conclusion.

Ideological Theory-An OverviewIdeological Theory-An OverviewIdeological Theory-An OverviewIdeological Theory-An Overview

• Ideological criticism attends to the formal and Ideological criticism attends to the formal and informal beliefs, feelings and habits of informal beliefs, feelings and habits of individuals, groups and nations.individuals, 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 (1943-1945) (1943-1945) genre filmgenre film

• Ideological criticism attends to the formal and Ideological criticism attends to the formal and informal beliefs, feelings and habits of informal beliefs, feelings and habits of individuals, groups and nations.individuals, 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 (1943-1945) (1943-1945) genre filmgenre film

Marxist Film TheoryMarxist Film TheoryMarxist Film TheoryMarxist Film Theory

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

It consists of:It consists of:1.1. A philosophical view of humanity that is A philosophical view of humanity that is

non-religious.non-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 by Marx and Hegel in the mid 19Marx and Hegel in the mid 19 thth Century. Century.

It consists of:It consists of:1.1. A philosophical view of humanity that is A philosophical view of humanity that is

non-religious.non-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.

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

• The idea of the proletariat as hero, rising up The idea of the proletariat as hero, rising up and creating a classless society with prosperity and creating a classless society with prosperity for all was reflected in the films of:for all was reflected in the films of:

>>Dovshenko Dovshenko >Eisenstein>Eisenstein >Pudovkin>Pudovkin >Vertov>Vertov >Shub>Shub

• The idea of the proletariat as hero, rising up The idea of the proletariat as hero, rising up and creating a classless society with prosperity and creating a classless society with prosperity for all was reflected in the films of:for all was reflected in the films of:

>>Dovshenko Dovshenko >Eisenstein>Eisenstein >Pudovkin>Pudovkin >Vertov>Vertov >Shub>Shub

FeminismFeminismFeminismFeminism

FeminismFeminism brings the following issues to the brings the following issues to the forefront in the movies:forefront in the movies:

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

FeminismFeminism brings the following issues to the brings the following issues to the forefront in the movies:forefront in the movies:

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

Feminist Film TheoryFeminist Film TheoryFeminist Film TheoryFeminist Film Theory

Feminist film theoryFeminist film theory focuses on how focuses on how the media, and film, in particular, the media, and film, in particular, have represented women in a have represented women in a condescending 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 how focuses on how the media, and film, in particular, the media, and film, in particular, have represented women in a have represented women in a condescending 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 Theory IIFeminist Film Theory IIFeminist Film Theory IIFeminist Film Theory II

Two of the most important issues Two of the most important issues facing facing feminist film theoryfeminist film theory are: are:

1. 1. Deterministic Feminist TheoryDeterministic Feminist Theory

2. 2. Liberal- Progressive Feminist TheoryLiberal- Progressive Feminist Theory

Two of the most important issues Two of the most important issues facing facing feminist film theoryfeminist film theory are: are:

1. 1. Deterministic Feminist TheoryDeterministic Feminist Theory

2. 2. Liberal- Progressive Feminist TheoryLiberal- Progressive Feminist Theory

Deterministic Feminist TheoryDeterministic Feminist TheoryDeterministic Feminist TheoryDeterministic Feminist Theory

• Many feminist critiques focus on whether woman Many feminist critiques focus on whether woman and men can challenge patriarchy.and men can challenge patriarchy.

• Laura Mulvey’s landmark essay “Laura Mulvey’s landmark essay “Visual Pleasure Visual Pleasure and Narrative Cinemaand Narrative Cinema”(1975) stated patriarchy is ”(1975) stated patriarchy is a systemic condition that is virtually a systemic condition that is virtually unchangeable because classic narrative cinema unchangeable because classic narrative cinema views women as objects to be watched.views women as objects to be watched.

• This theory was popular in the 1960’s and early This theory was popular in the 1960’s and early 1970’s.1970’s.

• Many feminist critiques focus on whether woman Many feminist critiques focus on whether woman and men can challenge patriarchy.and men can challenge patriarchy.

• Laura Mulvey’s landmark essay “Laura Mulvey’s landmark essay “Visual Pleasure Visual Pleasure and Narrative Cinemaand Narrative Cinema”(1975) stated patriarchy is ”(1975) stated patriarchy is a systemic condition that is virtually a systemic condition that is virtually unchangeable because classic narrative cinema unchangeable because classic narrative cinema views women as objects to be watched.views women as objects to be watched.

• This theory was popular in the 1960’s and early This theory was popular in the 1960’s and early 1970’s.1970’s.

Liberal-Progressive Feminist Liberal-Progressive Feminist Film TheoryFilm Theory

Liberal-Progressive Feminist Liberal-Progressive Feminist Film TheoryFilm Theory

• Molly Haskell’s “From Reverence to Rape: The Molly Haskell’s “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 in surveys the unrealistic depiction of women in films.films.

• She states that most depictions of women in films She states that most depictions of women in films made before 1960 are demeaning.made before 1960 are demeaning.

• Haskell argues that stereotypes should be replaced Haskell argues that stereotypes should be replaced with 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 Haskell’s “From Reverence to Rape: The Molly Haskell’s “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 in surveys the unrealistic depiction of women in films.films.

• She states that most depictions of women in films She states that most depictions of women in films made before 1960 are demeaning.made before 1960 are demeaning.

• Haskell argues that stereotypes should be replaced Haskell argues that stereotypes should be replaced with 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.

Cultural StudiesCultural StudiesCultural StudiesCultural Studies

• In the 1920’s The Frankfurt Institute attempted to incorporate In the 1920’s The Frankfurt Institute attempted to incorporate politics, culture, psychology and sociology into a single politics, culture, psychology and sociology into a single discipline. (i.e. discipline. (i.e. cultural studiescultural studies))

• Works by intellectuals such as Siegfried Kracauer’s “Works by intellectuals such as Siegfried Kracauer’s “From From Caligari to Hitler: A Psychological History of GermanCaligari to Hitler: A Psychological History of German FilmFilm”(1947) opened a new perspective on movies as a ”(1947) opened a new perspective on movies as a popular art rather than a traditional one.popular art rather than a traditional one.

• A branch of cultural studies called A branch of cultural studies called reception theoryreception theory studies studies how the audience received the movie (not its director or how the audience received the movie (not its director or theme) evaluating age, politics, sex, class, ethnicity, socio-theme) evaluating age, politics, sex, class, ethnicity, socio-economics etc. economics etc.

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

• In the 1920’s The Frankfurt Institute attempted to incorporate In the 1920’s The Frankfurt Institute attempted to incorporate politics, culture, psychology and sociology into a single politics, culture, psychology and sociology into a single discipline. (i.e. discipline. (i.e. cultural studiescultural studies))

• Works by intellectuals such as Siegfried Kracauer’s “Works by intellectuals such as Siegfried Kracauer’s “From From Caligari to Hitler: A Psychological History of GermanCaligari to Hitler: A Psychological History of German FilmFilm”(1947) opened a new perspective on movies as a ”(1947) opened a new perspective on movies as a popular art rather than a traditional one.popular art rather than a traditional one.

• A branch of cultural studies called A branch of cultural studies called reception theoryreception theory studies studies how the audience received the movie (not its director or how the audience received the movie (not its director or theme) evaluating age, politics, sex, class, ethnicity, socio-theme) evaluating age, politics, sex, class, ethnicity, socio-economics etc. economics etc.

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

Applied ReadingsApplied ReadingsApplied ReadingsApplied Readings

• Let’s now look at a number of films that are Let’s now look at a number of films that are well suited to specific critical and well suited to specific critical and theoretical approaches.theoretical approaches.

• Although all approaches are broadly Although all approaches are broadly applicable to almost any film, some movies applicable to almost any film, some movies yield more interesting answers to particular yield more interesting answers to particular kinds of questions, as the case studies that kinds of questions, as the case studies that follow illustrate.follow illustrate.

• Let’s now look at a number of films that are Let’s now look at a number of films that are well suited to specific critical and well suited to specific critical and theoretical approaches.theoretical approaches.

• Although all approaches are broadly Although all approaches are broadly applicable to almost any film, some movies applicable to almost any film, some movies yield more interesting answers to particular yield more interesting answers to particular kinds of questions, as the case studies that kinds of questions, as the case studies that follow illustrate.follow illustrate.

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 that can entertain and horrify. It becomes perfect can entertain and horrify. It becomes perfect fodder for a mimesis/catharsis debate.fodder for a mimesis/catharsis debate.

• To explore To explore Die Hard’sDie Hard’s treatment of violence, you treatment of violence, you could do basic research into the film’s reception-could do basic research into the film’s reception-reading reviews, criticism, marketing materials, reading reviews, criticism, marketing materials, interviews of viewers and fans-to learn how the interviews of viewers and fans-to learn how the violence was received and then begin violence was received and then begin your your analysisanalysis..

• Die Hard(1988Die Hard(1988) presents violence in a form that ) presents violence in a form that can entertain and horrify. It becomes perfect can entertain and horrify. It becomes perfect fodder for a mimesis/catharsis debate.fodder for a mimesis/catharsis debate.

• To explore To explore Die Hard’sDie Hard’s treatment of violence, you treatment of violence, you could do basic research into the film’s reception-could do basic research into the film’s reception-reading reviews, criticism, marketing materials, reading reviews, criticism, marketing materials, interviews of viewers and fans-to learn how the interviews of viewers and fans-to learn how the violence was received and then begin violence was received and then begin your your analysisanalysis..

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

Freudianism: Wall StreetFreudianism: Wall StreetFreudianism: Wall StreetFreudianism: Wall Street

• Oliver Stone’s Oliver Stone’s Wall Street(1987Wall Street(1987)provides a )provides a textbook example of a classic Freudian oedipal textbook example of a classic Freudian oedipal conflict between a caring and supportive father conflict between a caring and supportive father and his prodigal son. and his prodigal son.

• Freud’s central idea is that oedipal aggression Freud’s central idea is that oedipal aggression expresses itself indirectly, accidentally and expresses itself indirectly, accidentally and unconsciously.unconsciously.

• Oliver Stone’s Oliver Stone’s Wall Street(1987Wall Street(1987)provides a )provides a textbook example of a classic Freudian oedipal textbook example of a classic Freudian oedipal conflict between a caring and supportive father conflict between a caring and supportive father and his prodigal son. and his prodigal son.

• Freud’s central idea is that oedipal aggression Freud’s central idea is that oedipal aggression expresses itself indirectly, accidentally and expresses itself indirectly, accidentally and unconsciously.unconsciously.

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

Alfred Hitchcock’s brilliant Alfred Hitchcock’s brilliant VertigoVertigo(1958)is (1958)is interesting interesting 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 viewer’s sharing of Scottie’s visions of The viewer’s sharing of Scottie’s visions of

Madeleine and then his memory of her through Madeleine and then his memory of her through Judy.Judy.

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

Alfred Hitchcock’s brilliant Alfred Hitchcock’s brilliant VertigoVertigo(1958)is (1958)is interesting interesting 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 viewer’s sharing of Scottie’s visions of The viewer’s sharing of Scottie’s visions of

Madeleine and then his memory of her through Madeleine and then his memory of her through Judy.Judy.

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

Auteurism: Auteurism: Rear Window(1954Rear Window(1954))Auteurism: Auteurism: Rear Window(1954Rear Window(1954))• Hitchcock’sHitchcock’s film is a good example of how the film is a good example of how the

director, together with his cast and crew created a director, together with his cast and crew created a unified work.unified work.

• HitchcockHitchcock is an is an auteurauteur because he is a director because he is a director who manifests who 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

• Hitchcock’sHitchcock’s film is a good example of how the film is a good example of how the director, together with his cast and crew created a director, together with his cast and crew created a unified work.unified work.

• HitchcockHitchcock is an is an auteurauteur because he is a director because he is a director who manifests who 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

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

• Fritz Lang’sFritz Lang’s silent masterpiece was the high point of silent masterpiece was the high point of German expressionism.German expressionism.

• The sci-fi story presents a society with a social The sci-fi story presents a society with a social structure much like that described by structure much like that described by Marx.Marx.

• The owners live above ground and the slave workers The owners live above ground and the slave workers toil beneath.toil beneath.

• Marxism’s central tenet of exploitation of workers by Marxism’s central tenet of exploitation of workers by those who control capital is evident. those who control capital is evident.

• Hitler’s favorite film!Hitler’s favorite film!

• Fritz Lang’sFritz Lang’s silent masterpiece was the high point of silent masterpiece was the high point of German expressionism.German expressionism.

• The sci-fi story presents a society with a social The sci-fi story presents a society with a social structure much like that described by structure much like that described by Marx.Marx.

• The owners live above ground and the slave workers The owners live above ground and the slave workers toil beneath.toil beneath.

• Marxism’s central tenet of exploitation of workers by Marxism’s central tenet of exploitation of workers by those who control capital is evident. those who control capital is evident.

• Hitler’s favorite film!Hitler’s favorite film!

Feminism: Feminism: Thelma andThelma and LouiseLouise(1991)(1991)

Feminism: Feminism: Thelma andThelma and LouiseLouise(1991)(1991)

Ridley Scott’sRidley Scott’s film is the first big budget film is the first big budget Hollywood film to assert a feminist perspective Hollywood film to assert a feminist perspective with its details debatable:with its details debatable:

1.1. The film traffics in stereotypes of male The film traffics in stereotypes of male chauvinism.chauvinism.

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

Ridley Scott’sRidley Scott’s film is the first big budget film is the first big budget Hollywood film to assert a feminist perspective Hollywood film to assert a feminist perspective with its details debatable:with its details debatable:

1.1. The film traffics in stereotypes of male The film traffics in stereotypes of male chauvinism.chauvinism.

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

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 feminist 4. The road picture and western overlap feminist concerns.concerns.

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

6. The movie deflects the traditional Hollywood 6. The movie deflects the traditional Hollywood male gaze by allowing T&L to ogle handsome male gaze by allowing T&L to ogle handsome J.D. (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 feminist 4. The road picture and western overlap feminist concerns.concerns.

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

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

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

Alex Cox’sAlex Cox’s low- budget, dark comedy speaks low- budget, dark comedy speaks eloquently 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 American Provides a deadpan commentary on American

social conditions and attitudes.social conditions and attitudes.

Alex Cox’sAlex Cox’s low- budget, dark comedy speaks low- budget, dark comedy speaks eloquently 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 American Provides a deadpan commentary on American

social conditions and attitudes.social conditions and attitudes.

Buzz WordsBuzz WordsBuzz WordsBuzz Words

• CultCult:: any cause, person or object admired by a any cause, person or object admired by a minority.minority.

• Cult MovieCult Movie: : Repo ManRepo Man is a cult film which means is a cult film which means that it has a small but devoted audience that that it has a small but devoted audience that admires and values certain aspects of this film.admires and values certain aspects of this film.

• Cult MoviesCult Movies are either ‘so bad they’re good’ (e.g. are either ‘so bad they’re good’ (e.g. world’s worst director Ed Wood) or are the world’s worst director Ed Wood) or are the objects of a quasi-religious worship (objects of a quasi-religious worship (Star WarsStar Wars).).

• CultCult:: any cause, person or object admired by a any cause, person or object admired by a minority.minority.

• Cult MovieCult Movie: : Repo ManRepo Man is a cult film which means is a cult film which means that it has a small but devoted audience that that it has a small but devoted audience that admires and values certain aspects of this film.admires and values certain aspects of this film.

• Cult MoviesCult Movies are either ‘so bad they’re good’ (e.g. are either ‘so bad they’re good’ (e.g. world’s worst director Ed Wood) or are the world’s worst director Ed Wood) or are the objects of a quasi-religious worship (objects of a quasi-religious worship (Star WarsStar Wars).).

Other Forms of Film AnalysisOther Forms of Film AnalysisOther Forms of Film AnalysisOther Forms of Film 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 analyzing One simple but very effective way of analyzing

genre convention and a particular film’s place genre convention and a particular film’s place within a genre is to break down a movie into three within 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 analyzing One simple but very effective way of analyzing

genre convention and a particular film’s place genre convention and a particular film’s place within a genre is to break down a movie into three within a genre is to break down a movie into three discrete temporal aspects: (continued)discrete temporal aspects: (continued)

GENRE STUDYGENRE STUDYGENRE STUDYGENRE STUDY

1.1. Story Formula-Story Formula-overall plot structure found in a overall plot structure found in a genre. e.g. In the science fiction genre consider the genre. e.g. In the science fiction genre consider the plot of plot of E.TE.T.(1982), or .(1982), or StarmanStarman(1984)(1984)

2.2. Scene Convention-Scene Convention-In science fiction, the scene in In science fiction, the scene in which the visitor exhibits otherworldly powers.which the visitor exhibits otherworldly powers.

3.3. Iconic Shot-Iconic Shot-an immediately recognizable visual an immediately recognizable visual symbol. In Sci-Fi this might be homesick shots of symbol. In Sci-Fi this might be homesick shots of the night sky.the night sky.

1.1. Story Formula-Story Formula-overall plot structure found in a overall plot structure found in a genre. e.g. In the science fiction genre consider the genre. e.g. In the science fiction genre consider the plot of plot of E.TE.T.(1982), or .(1982), or StarmanStarman(1984)(1984)

2.2. Scene Convention-Scene Convention-In science fiction, the scene in In science fiction, the scene in which the visitor exhibits otherworldly powers.which the visitor exhibits otherworldly powers.

3.3. Iconic Shot-Iconic Shot-an immediately recognizable visual an immediately recognizable visual symbol. In Sci-Fi this might be homesick shots of symbol. In Sci-Fi this might be homesick shots of the night sky.the night sky.

Film SlangFilm SlangFilm SlangFilm Slang

• A A media franchisemedia franchise is an  is an intellectual property involving  an original work of fiction. Multiple  involving  an original work of fiction. Multiple sequels are often planned well in advance and, in sequels are often planned well in advance and, in the case of motion pictures, actors and directors the case of motion pictures, actors and directors often sign multi-film deals to ensure their often sign multi-film deals to ensure their participation. participation.

• e.g. e.g. The Scary Movie(2001-2006The Scary Movie(2001-2006) franchise. ) franchise.

• A A media franchisemedia franchise is an  is an intellectual property involving  an original work of fiction. Multiple  involving  an original work of fiction. Multiple sequels are often planned well in advance and, in sequels are often planned well in advance and, in the case of motion pictures, actors and directors the case of motion pictures, actors and directors often sign multi-film deals to ensure their often sign multi-film deals to ensure their participation. participation.

• e.g. e.g. The Scary Movie(2001-2006The Scary Movie(2001-2006) franchise. ) franchise.

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

• Wes Craven’s Wes Craven’s Scream(1996Scream(1996)echoes and plays )echoes and plays homage to homage to PsychoPsycho(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-fi,adventure )=thriller,sci-fi,adventure &&

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

• Wes Craven’s Wes Craven’s Scream(1996Scream(1996)echoes and plays )echoes and plays homage to homage to PsychoPsycho(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-fi,adventure )=thriller,sci-fi,adventure &&

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

Film History StudyFilm History StudyFilm History StudyFilm History Study

• ““The term itself suggests a two-part definition. Film The term itself suggests a two-part definition. Film history involves the study of the phenomenon we history involves the study of the phenomenon we commonly refer to as ‘film’…Further it involves commonly refer to as ‘film’…Further it involves studying film from a particular perspective and with studying film from a particular perspective and with particular goals in mind-perspective and goals that particular goals in mind-perspective and goals that are historical”.are historical”.

Film historians Douglas Gomery and Robert C. Allen from “Film historians Douglas Gomery and Robert C. Allen from “Film HistoryFilm History, , Theory Theory and Practiceand Practice”(1985)”(1985)

• ““The term itself suggests a two-part definition. Film The term itself suggests a two-part definition. Film history involves the study of the phenomenon we history involves the study of the phenomenon we commonly refer to as ‘film’…Further it involves commonly refer to as ‘film’…Further it involves studying film from a particular perspective and with studying film from a particular perspective and with particular goals in mind-perspective and goals that particular goals in mind-perspective and goals that are historical”.are historical”.

Film historians Douglas Gomery and Robert C. Allen from “Film historians Douglas Gomery and Robert C. Allen from “Film HistoryFilm History, , Theory Theory and Practiceand Practice”(1985)”(1985)

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

• In its broadest sense, film history, examines the In its broadest sense, film history, examines the development of the movies from their invention in development of the movies from their invention in 1895 to the present.1895 to the present.

• Film historiography=Film historiography=different types of historical types of historical writing about the cinema.writing about the cinema.

• Human conflict has been depicted in the movies not Human 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 the In its broadest sense, film history, examines the development of the movies from their invention in development of the movies from their invention in 1895 to the present.1895 to the present.

• Film historiography=Film historiography=different types of historical types of historical writing about the cinema.writing about the cinema.

• Human conflict has been depicted in the movies not Human 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)

Film History Study IIIFilm History Study IIIFilm History Study IIIFilm History Study III

> Some historical movies are biased or melodramatic.> Some historical movies are biased or melodramatic. e.g. e.g. Birth of a Nation(1915)Birth of a Nation(1915) Gone With The Wind(1939Gone With The Wind(1939))> Some historical movies tend to smooth- over > Some historical movies tend to smooth- over

history’s facts and blur its moral ambiguities.history’s facts and blur its moral ambiguities. e.g. e.g. Scarlet Express(1934)Scarlet Express(1934) Gandhi(1982)Gandhi(1982) Malcolm X (1992)Malcolm X (1992)

> Some historical movies are biased or melodramatic.> Some historical movies are biased or melodramatic. e.g. e.g. Birth of a Nation(1915)Birth of a Nation(1915) Gone With The Wind(1939Gone With The Wind(1939))> Some historical movies tend to smooth- over > Some historical movies tend to smooth- over

history’s facts and blur its moral ambiguities.history’s facts and blur its moral ambiguities. e.g. e.g. Scarlet Express(1934)Scarlet Express(1934) Gandhi(1982)Gandhi(1982) Malcolm X (1992)Malcolm X (1992)

Types of Film HistoriographyTypes of Film HistoriographyTypes of Film HistoriographyTypes of Film Historiography>The aesthetic approach.>The aesthetic approach. Sometimes called the Sometimes called the masterpiece ormasterpiece or great man approachgreat man approach seeks to evaluate: seeks to evaluate:1.1. Individual movies Individual movies 2.2. National cinemasNational cinemas3.3. DirectorsDirectors>The economic approach>The economic approach• Studio system (Hollywood) vs. Independents Studio system (Hollywood) vs. Independents

(“Indiewood”)(“Indiewood”)

>The aesthetic approach.>The aesthetic approach. Sometimes called the Sometimes called the masterpiece ormasterpiece or great man approachgreat man approach seeks to evaluate: seeks to evaluate:1.1. Individual movies Individual movies 2.2. National cinemasNational cinemas3.3. DirectorsDirectors>The economic approach>The economic approach• Studio system (Hollywood) vs. Independents Studio system (Hollywood) vs. Independents

(“Indiewood”)(“Indiewood”)

Types of Film Historiography IITypes of Film Historiography IITypes of Film Historiography IITypes of Film Historiography II

>The technological perspective:>The technological perspective:• opticsoptics• chemistrychemistry• digital processingdigital processing>Social history:>Social history:• movies and how they affect culture, society and movies and how they affect culture, society and

influence 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 and movies and how they affect culture, society and

influence social change.influence social change.