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1 - An Introduction To Film Study

This document introduces film study and argues that understanding the technical and narrative elements of films can enhance one's appreciation of cinema, just as understanding cooking techniques can improve one's enjoyment of food. It notes that films are easy to watch passively but more difficult to explain, requiring analysis of shots, scenes, directing, editing, acting and other components. The document outlines questions students of film may ask of a movie to excavate its deeper meanings and cultural significance. It aims to dispel the idea that analyzing films "spoils" the experience, likening critical viewing to providing feedback on a meal to expand one's tastes and knowledge.

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Jefferson Widodo
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181 views5 pages

1 - An Introduction To Film Study

This document introduces film study and argues that understanding the technical and narrative elements of films can enhance one's appreciation of cinema, just as understanding cooking techniques can improve one's enjoyment of food. It notes that films are easy to watch passively but more difficult to explain, requiring analysis of shots, scenes, directing, editing, acting and other components. The document outlines questions students of film may ask of a movie to excavate its deeper meanings and cultural significance. It aims to dispel the idea that analyzing films "spoils" the experience, likening critical viewing to providing feedback on a meal to expand one's tastes and knowledge.

Uploaded by

Jefferson Widodo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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1

An Introduction to Film Study

We don't need to have studied catering to be able to eat and enjoy a meal and, in a similar
way, we don't need to have studied film to be able to watch and enjoy a movie.

It could be argued however that if we know little about food preparation, herbs, spices and
cooking times etc. then we're going to lack the insight and knowledge needed to fully
understand and appreciate the culinary experience.

In turn, if we know little about direction, cinematography, mise-en-scene and narrative etc.
then the chances are we're going to lack the insight and knowledge needed to fully
understand and appreciate the cinematic experience.

In both cases, it could be argued, we'll be missing out, and our cultural lives will be less rich
and less fulfilling.

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In simple terms we can perceive the films or movies we see projected on a screen as a
pattern of light, dark, colour, movement and sound presented over a period of, say, 100
minutes, by a producer, scriptwriter, director, actors, technicians etc. all working together in
an attempt to distract us, entertain us, and/or to cause us to think and feel in certain ways.

This is somewhat reminiscent of Plato's 'Allegory of the Cave' wherein prisoners are chained
up in a cave and can see only shadows dancing against its far wall. Over the course of their
lives the prisoners eventually name these shadows, recognise them and believe in them until
they are transformed into reality itself, rather than the representation of reality which they
actually are. Plato then contends that for prisoners to set themselves 'free' they must begin
to critically understand the 'form' and 'context' of these shadows, the mechanics at work
behind them, as well as the 'content' of their performance.

As a consequence, as students of film, we are required to identify, interpret and explain the
key roles technical and textual aspects play in the construction and reception of a movie, to
recompose its 'shadows' and 'patterns' in order to articulate its emotional, psychological and
cultural elements and formulate, if only for personal nourishment, a deeper set of additional
or alternative meanings and enjoyments.

Of course, this is no simple task, as the film theorist, Christian Metz, highlights:

Film is difficult to explain because it is easy to understand.

Naturally then, concentration, patience and self-discipline are required as we watch and re-
watch a variety of movies from a variety of eras, excavating their specific shots, sequences
and scenes in order to understand how and why they might have been designed in the way
they have.

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Equipped with a set of tools (a specialist vocabulary or discourse) we should then begin our
adventure by reflecting on questions such as:

 Why has the director decided to direct a particular scene one way and not another?
Is he or she in full control of the material, or does the studio which is funding the
production have creative control?

 In what ways has the cinematographer lit a scene a certain way? What effect does
this have on the tone and atmosphere of the images we observe?

 How has the role of the editor affected the logic and pace of the action and the
narrative? What techniques have been used to achieve this?

 Does the soundtrack complement the visual experience or contrast with it? What
emotions and understandings do these stir up within us?

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 What approach have the actors taken with regards to their performances? Are they
naturalistic, theatrical or something else? Are they reinforcing our 'suspension of
belief' or undermining it? Is this accidental or on purpose?

 What about the film's budget? Is it a multi-million dollar blockbuster or a small low
budget indie? Should we judge these two different types of films by applying the
same critical criteria?

 What about the themes the film explores? Do they relate to our day-to-day, real-
world experiences, our hopes, fears and values? Will we remember them in years to
come?

 Will the movie play for women in the same way it would for men? What about the
ages of the audiences, their ethnicities, their nationalities, their financial
backgrounds, their education levels, their sexual orientation etc.?

 Importantly, is the film honest? Does it genuinely attempt to tell its story as
effectively as it can, with the resources it has available, so it engages and challenges
its audience beyond its screening time?

Over the years many people have complained of course that to analyse a film is to 'spoil' it
and dispel its 'magic', arguing instead that we should obediently sit and watch the shadows
dancing on the wall without curiosity, comment or question. In other words, just keep quiet
and enjoy the show.

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But after we've eaten a meal that's been cooked for us isn't it natural to give feedback, to
ask questions about its ingredients and preparation, to learn what is to our taste or not, to
be surprised by something we've never eaten before?

This begins a series of film study papers based on over 25 years of education, teaching and
filmmaking practice. They will be posted online for free as time permits for the interest of
others.

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