Chapter 11 Models of Film Theory by qfc86623


									Chapter 11: Models of Film
    Basic Models of Film Theory

 Realist
 Auteurist
 Psychoanalytic
 Ideological
 Feminist
 Cognitive
    Realist Theory

 Looks for correspondences between film
  images and the realities before the camera
 Restrictions on stylistic manipulation
 Andre Bazin
     Ethicalformulation
     Deep-focus cinematography
     The long take
          Jean Renoir, Orson Welles
   Bazin’s approach
     Strength
          Stress on ethical contract between filmmaker and
     Weakness
        Typifies few films
        Deep focus, long takes, and montage may co-exist in
         a given film
    Other Realist Models

 Documentary Realism
 Italian neo-realism
 Perceptual realism
     Basisfor realism at perceptual level
     Three-dimensional visual/acoustic information
        Cinema conveys same information as found in
         everyday life
        Constrained by cinema’s transformative elements
    Auteurist Theory

   The film director as author and artist
       A recognizable stylistic signature
       Consistencies of theme and visual design
            Alfred Hitchcock
   Strength:
       Helps legitimize the medium as an art
   Weakness:
       Attributional errors
       Filmmaking is collaborative
    Psychoanalytic Models

 Derived from the writings of Freud and
  Jacques Lacan
 Cinema activates unconscious, non-rational
  pleasures and anxieties
     Voyeurism
         Fetish and taboo imagery
   Strength
     Emphasis on the emotional power of cinema
     Emphasis on its ability to arouse desire and
   Weakness
     Basedon ambiguous clinical data
     Tendency to over-extend its claims
    Ideological Models

   Ideology – set of beliefs about society and the
   Emphasizes how film portrays society and
    expresses ideologies
   Levels of ideological expression
       First order
            Rambo: First Blood Part II
       Second order
            Back to the Future
   Ideological point of view:
     Support  for established social values
     Critique of established values
     Conglomeration
        Mixed set of appeals and outlooks
        Enhances marketing to large, heterogeneous
   Strength
     Emphasizes  relationship of film and society
     Exposes distorted portraits of social issues

   Weakness
     Tendsto over-extend its claims
     Reduces films to ideological symptoms
    Feminist Models

   Depiction of gender in film
     Connects  this to social ideologies and practices
     Images of women (and men) in films made by
     Alternative forms of feminist filmmaking

   May blend psychoanalytic and ideological
   Strength
     Emphasis  on the ways gender influences the
      production of images
   Weakness
     Gender is one of many filters on human
    Cognitive Models

   Viewer perception of visual and auditory
       Perceptual processing
   How viewers organize these perceptions and
    derive meaning from them
       Interpretive processing
            Schemas (frameworks of interpretation)
   Bases for a viewer’s understanding of cinema
       Perceptual correspondences
       Social correspondences
   Strengths
       The theory is research-based, supported by empirical
       By accounting for the intelligibility of cinema, the
        theory also accounts, in part, for the medium’s
   Weakness
       Relative lack of attention to emotion
       Lack of attention to cinema’s transformative functions

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