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Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate.
An ideology is a set of beliefs or philosophies attributed to a person or group of persons, especially those held for reasons that are not purely epistemic, in which "practical elements are as prominent as theoretical ones". Formerly applied primarily to economic, political, or religious theories and policies, in a tradition going back to Karl Marx and Friedrich Engels, more recent use treats the term as mainly condemnatory.
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s. The second wave became popular in the 1980s and 90s.
In Marxist philosophy, cultural hegemony is the dominance of a culturally diverse society by the ruling class who shape the culture of that society—the beliefs and explanations, perceptions, values, and mores—so that the worldview of the ruling class becomes the accepted cultural norm. As the universal dominant ideology, the ruling-class worldview misrepresents the social, political, and economic status quo as natural, inevitable, and perpetual social conditions that benefit every social class, rather than as artificial social constructs that benefit only the ruling class.
Laura Mulvey is a British feminist film theorist and filmmaker. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She previously taught at Bulmershe College, the London College of Printing, the University of East Anglia, and the British Film Institute.
In Marxist philosophy, the term dominant ideology denotes the attitudes, beliefs, values, and morals shared by the majority of the people in a given society. As a mechanism of social control, the dominant ideology frames how the majority of the population thinks about the nature of society, their place in society, and their connection to a social class.
Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to cinema as an art form and a medium. It is sometimes subsumed within media studies and is often compared to television studies.
Screen theory is a Marxist–psychoanalytic film theory associated with the British journal Screen in the early 1970s. It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity. The theory attempts to discover a way of theorizing a politics of freedom through cinema that focuses on diversity instead of unity. Here, the Marxist emphasis on universal consciousness as a basis for defining emancipation shifted to the articulation of diversities and multiplicities of individual and collective experience due to the psychoanalytic elaboration of the unconscious.
In Marxist theory, especially that of Louis Althusser, interpellation is a culture's or ideology's creating of identity for "individuals".
Trinh T. Minh-ha is a Vietnamese filmmaker, writer, literary theorist, composer, and professor. She has been making films for over thirty years and may be best known for her films Reassemblage, made in 1982, and Surname Viet Given Name Nam, made in 1985. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.
In film theory, the term oneiric refers to the depiction of dream-like states or to the use of the metaphor of a dream or the dream-state in the analysis of a film. The term comes from the Greek Óneiros, the personification of dreams.
In film theory, the institutional mode of representation (IMR) is the dominant mode of film construction, which developed in the years after the turn of the century, becoming the norm by about 1914. Although virtually all films produced today are made within the IMR, it is not the only possible mode of representation. Other possibilities include the primitive mode of representation, which was dominant before being replaced by the IMR; certain avant-garde films that constitute a “deconstructionist” challenge to the IMR; and various non-western modes, notably pre-war Japanese film, that were possible before the IMR became the worldwide norm. Classical Hollywood cinema is the dominant style within the IMR, but other styles such as art house, independent, and most (current) foreign styles fall no less under the IMR.
Jean-Louis Comolli was a French writer, editor, and film director.
The psychology of film is a sub-field of the psychology of art that studies the characteristics of film and its production in relation to perception, cognition, narrative understanding, and emotion. A growing number of psychological scientists and brain scientists have begun conducting empirical studies that describe the cognitive and biological underpinnings of motion pictures or what has been called "psychocinematics". Early theoretical approaches included works by psychologists Hugo Münsterberg and Rudolf Arnheim. Cognitive film theorists David Bordwell and Noël Carroll fostered its philosophical underpinnings.
Film semiotics is the study of sign process (semiosis), or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Film semiotics is used for the interpretation of many art forms, often including abstract art.
"Ideology and Ideological State Apparatuses (Notes Towards an Investigation)" (French: "Idéologie et appareils idéologiques d'État (Notes pour une recherche)") is an essay by the French Marxist philosopher Louis Althusser. First published in 1970, it advances Althusser's conception and critique of ideology. Where Karl Marx and Friedrich Engels posited a thinly-sketched theory of ideology as a system of falsehoods serving the ruling class, Althusser draws upon the works of later theorists such as Antonio Gramsci, Sigmund Freud and Jacques Lacan to proffer a more elaborate redefinition of the theory. Althusser's theory of ideology has remained influential since it was written.
In Marxist theory, false consciousness is a term describing the ways in which material, ideological, and institutional processes are said to mislead members of the proletariat and other class actors within capitalist societies, concealing the exploitation and inequality intrinsic to the social relations between classes. According to Marxists, false consciousness legitimizes the existence of different social classes.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: that of the man behind the camera, that of the male characters within the film's cinematic representations; and that of the spectator gazing at the image.
Jean-Louis Baudry was a French novelist, Tel Quel literary editor, and psychoanalytic film theorist.
References
- ↑ Ponsford, Nicole. "Film Theory and Language". Media.Edu. Media.edu. Retrieved 4 December 2014.
- ↑ "Cinematic apparatus". faculty.washington.edu. Retrieved 4 December 2014.
