The Art of Watching Film - Research Paper Example

Film Analysis Introduction Film analysis is a highly complex process wherein scholars and researchers examine a film for its overt and sub-textual meaning. This is an important process, as film analysis can be implemented in examining issues of sociological importance within films, as well as examining a film for its artistic merit and contribution to the evolution of film. Perhaps most importantly, film analysis allows the scholar, research, or thinker to go through a meditative process wherein the important human elements the filmmaker has deemed worth further exploration can be considered and appreciated in greater depth. While the process of film analysis is arguably as extensive and complex as the extent of the filmmaker’s imagination and the limits of technology allow, there are a number of elements that are foundational in analyzing an entire film. In exploring the means that an entire film can be analyzed this essay considers these foundational elements of fiction and drama, editing, historical importance, and also advances a personal evaluative criteria. Fictional and Dramatic Elements In analyzing film one of the most important considerations is the one made to the story or narrative. While the film’s narrative can be understood as its overarching story, film analysis goes even further in distinguishing plot as the continuous action of the events in the film. By first identifying plot, the writer is then able to further deconstruction the film’s narrative elements and consider them for their academic relevance. What constitutes a strong plot is an element for debate, however scholars (Boggs 2006, pg. 46) note that a film’s story elements should consist of, “(1) the objective, external, and observable laws of probability and necessity; (2) the subjective, irrational, and emotional inner truths of human nature; (3) the semblance of truth created by the filmmaker’s convincing art.” Even as academic film analysis doesn’t consider the evaluative qualities of a film like a newspaper film critic would, these dichotomous elements of film narrative are useful in understanding the aggregate components that constitute the film’s message. As these features represent a sort of narrative foundation or dramatic structure, within them there exist a number of subcategories of distinction analysts can use to further examine a film’s meaning. Even as films don’t share with novels the luxury of being able to analyze in their frozen capacity, they do function in great part similar to novels in terms of the application of literary elements within the narrative. These include elements of irony, allegory, and symbolism that are all characteristic of a film’s story. While this is not the place for an in-depth deliberation on what constitutes irony, it is important to note the means by which filmmaker’s achieve these effects as compared to novelists. While the novelist is restricted to the written elements of a text in order to convey meaning the filmmaker has at their disposal the complex interaction of verbal, musical and visual elements to create meaning. Editing Another central element to film interpretation is the examination of editing. Indeed, editing represents the fabric that connects the film and is importance in influencing the film’s overarching meaning can’t be overestimated. When considering editing one of the challenges is that a large part of the process is forever lost analysis. Film editor Evan Lottman (as cited in Boggs 2006, pg. 186) stated, “Editing is invisible...You don’t know whether the material was great and the editor screwed it up, or if it was poor material and the editor made a wonderful movie out of it.” Even with these obvious restrictions film analysts are still able to examine a number of features of editing to better determine the meaning of a film. There are a number of important editing techniques that filmmakers utilize that analysts can considering film meaning. One of the most central is the pace of the film. With quick cuts the editor is able to create a sense of urgency or slow down the action as a means of drawing the viewer’s attention to a specific scene. By examining the connection between the film’s pace of editing along with the onscreen narrative elements, the film analysis is able to gain a more thorough understanding of the sub-textual meaning. In addition to these features, one of the foundational elements is the process of montage. Montage is a complex term with a variety of connotations. It has been defined as, “a series of images and sounds that, without any clear, logical, or sequential pattern, form a visual poem in miniature” (Boggs 2006, pg. 215). While there are a number of various montage methods, beginning with the Soviet montage of Eisenstein or Kuleshov, contemporary editing techniques represent an aggregate of these historic methods, and must be analyzed from a number of thorough and meticulous ways. In considering editing in a film, consider the ways that the Chinese film Farewell My Concubine uses editing to shape the narrative and create film meaning that wouldn’t be possible without this stylistic device. Indeed, Farewell My Concubine makes frequent use of editing juxtaposition to demonstrate the characters’ tragic and splendid lives (Chandler 2009). After the Japanese have began their occupation of China there is a scene where the Chinese soldiers are lined up in the snow and then massacred. This scene is edited directly against the ceremony of Juxiang and Xiaolou’s marriage. The juxtaposition of stark winter and the colorful ceremony is visually appealing and offers a symbolic link between Dieyi’s emotional impoverishment and Xiaolou’s seemingly more satisfied existence (Chandler 2009). Another seminal use of editing occurs in Russian filmmaker Sergei Eisenstein’s 1925 film the Battleship Potemkin. The film is one of the 20th century’s most influential films and has been hailed by critics as both the greatest propaganda film of all time because of its masterful use of editing. Indeed, the Odessa steps scene sequence has come to be recognized as one of the influential film scenes in history for its innovative and powerful use specifically of montage editing techniques. In constructing the Odessa step sequence Eisenstein attempted to creates an incredibly powerful visceral impact on the viewer. This montage sequence masterfully plays on the viewers’ emotions, beginning with a sequence of shot depicting unsuspecting citizens, including children and the disabled, enjoying their afternoon. These terrified individuals are then chased from the steps by the Tsarist troops; the scene is intercut with shots of individuals falling dead to the ground, and the pursuing troops. Eisenstein’s use of montage has had an indelible impact on American filmmaker’s, with both Martin Scorsese and Francis Ford Coppola stating the tremendous influence Eisenstein had on their work. Ultimately, its clear that as editing constitutes the very fabric by which the film is made, it is a crucial element to consider in relation analyzing a film. Historical Elements Today contemporary filmmakers stand on the shoulders of over 100 years of insights and stylistic innovations made by directors throughout the 20th century. As a result, in analyzing a film its necessary to contextualize the films style in relation to other films and consider its contribution to the film medium as a whole. Bordwell and Thompson (2009, xvi) note that in examining a film its necessary to consider that, “the formal aspects of film work within historical contexts.” In terms of this analytic approach, film analysis functions to examine the stylistic elements that function to influence later filmmakers in an effort to draw scholarly distinctions, such as genre, influence, and overarching importance to the cultural landscape. Consider Fritz Lang’s 1931 film M. As an early sound film, Lang’s combination of visual and sound elements constituted a stylistic breakthrough for the emerging medium. Even as the film is important for these reasons, perhaps its great importance and contribution to the historical film landscape is its articulation of the German Expressionist style that would come to influence to film noir and has even influenced contemporary filmmakers. Through a contextual and historical analysis critics are able to note these elements within the film and others it influenced and was influenced by. While German Expressionism as a distinct stylistic approach to film has largely died out, its contemporary applications have lived on in throughout the 20th century in film noir devices. In these instances, Bordwell and Thompson (2009, pg. 464) note that a film movement consists of films, “that share significant traits of style and form.” For instance, consider Sin City. Director Robert Rodriguez sets the film in the black and white world of the fictional city of Basin. Just as the M utilizes the dark expressionist imagery to convey the devilish interiority of the characters, so does director Rodriguez implement the stark black and white contrasts, shadowing many of the characters and settings, to convey the amoral and violent aspects of the city and the film’s overarching plot. In drawing the connection between these films stylistic elements the film analysis is able to bring out the deeper meaning in both texts. Personal Evaluative Criteria In articulating a personal evaluative criteria there are two distinct modes of thought that I have developed. The first line of reasoning considers that films must be examined in terms of their academic or scholarly value. In great part this means of evaluating a film has been advanced throughout this essay. In evaluating a film in this context I believe its necessary for individuals to consider the various artistic elements that can be brought out to bring deeper meaning and appreciation. Among these elements includes the stylistic innovation the filmmaker brings to the film. While visual art such as paintings are evaluated in great part on the novelty of the form (considers Picasso and cubism), film art should equally be evaluated on the novelty and effectiveness with which they are able to advance their underlining meaning. In these regards, film functions as the exploration of a meaning making system, with filmmakers functioning as artists in the sense they are visionary, paving the way for future filmmakers and texts. Remaining within the academic context, I believe its necessary for individuals to examine the humanistic elements that can be drawn from films. While not appropriate for some abstract or experimental films, many films explore questions of human nature, including morality, justice, and the nature of happiness. In these regards, in examining a film the viewer must examine it like they would a novel, considering the thematic elements the filmmaker is trying to explore and they applying them in terms of their own life. In addition to academic film analysis, I believe films can be evaluated for their entertainment value. While I recognize that this is a highly subjective category, there exist a number of characteristics that make a film entertaining. I believe one of the most important such elements is that the film has a compelling narrative that is articulated by the filmmaker in as efficient a way to hold audience interest. In addition, I believe that the film must contain individuals who are able to bring a sense of excitement or life to the film. While oftentimes the star system is derided by serious film fans, I believe that it is important as it is these individuals that provide a sense of life to the film, constituting perhaps the most central entertainment purpose. While these evaluative criteria can aid individuals find deeper meaning in film, its ultimately the personal reaction an individual has to the film that is its primary importance. Conclusion In conclusion, while film analysis can encapsulate as broad an array of categories as the filmmaker’s imagination and the current technology will allow, there are a number of elements that have been identified as foundational to analyzing an entire film. Perhaps the most pervasive element is the film’s literary qualities, namely its consideration of narrative and plot, and the stylistic devices contained therein. The film’s visual design is another central area of importance as its interaction with the narrative and plot, as well as its standalone qualities function to create an emotional effect in the viewer, and advance tropes such as situational irony, further emphasize character traits, and even constitute its own genre, as in the case of film noir. Editing represents the fabric that holds film together and must be interpreted in terms of the film’s on-screen plot or narrative. The historical elements are also important to examine as these elements function to allow the critics to determine categorical distinctions along artistic lines to bring out deeper meanings in regards to form and sociological importance. Finally, a personal evaluative criteria is advanced that considers the films entertainment value as well as it artistic importance in considering appropriate film analysis. References Boggs, J. (2006). The Art of Watching Film. New York: McGraw-Hill. Bordwell, D., Thompson, K. (2009) Film Art: An Introduction. New York: McGraw Hill. Chandler, G. (2009) Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know. New York: Michael Wiese Productions Friedman, R (2002). "Altman: Titanic Worst Movie Ever". Fox News. http://www.foxnews.com/story/0,2933,47613,00.html. Read More