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.
Sergei Mikhailovich Eisenstein was a Soviet film director, screenwriter, film editor and film theorist. He was a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1945/1958). In its 2012 decennial poll, the magazine Sight & Sound named his Battleship Potemkin the 11th-greatest film of all time.
The Situationist International (SI) was an international organization of social revolutionaries made up of avant-garde artists, intellectuals, and political theorists. It was prominent in Europe from its formation in 1957 to its dissolution in 1972. The intellectual foundations of the Situationist International were derived primarily from libertarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism.
The Frankfurt School is a school of thought in sociology and critical philosophy. It is associated with the Institute for Social Research founded at Goethe University Frankfurt in 1923. Formed during the Weimar Republic during the European interwar period, the first generation of the Frankfurt School was composed of intellectuals, academics, and political dissidents dissatisfied with the socio-economic systems of the 1930s: namely, capitalism, fascism, and communism. Significant figures associated with the school include Max Horkheimer, Theodor Adorno, Walter Benjamin, Wilhelm Reich, Herbert Marcuse, and Jürgen Habermas.
Fredric Ruff Jameson was an American literary critic, philosopher and Marxist political theorist. He was best known for his analysis of contemporary cultural trends, particularly his analysis of postmodernity and capitalism. Jameson's best-known books include Postmodernism, or, The Cultural Logic of Late Capitalism (1991) and The Political Unconscious (1981).
The New Wave, also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema.
Marxism is a political philosophy and method of socioeconomic analysis. It uses a dialectical and materialist interpretation of historical development, better known as historical materialism, to analyse class relations, social conflict, and social transformation. Marxism originates with the works of 19th-century German philosophers Karl Marx and Friedrich Engels. Marxism has developed over time into various branches and schools of thought, and as a result, there is no single, definitive Marxist theory. Marxism has had a profound effect in shaping the modern world, with various left-wing and far-left political movements taking inspiration from it in varying local contexts.
La dialectique peut-elle casser des briques ?, in English, "Can Dialectics Break Bricks?", is a 1973 Situationist film produced by the French director René Viénet which explores the development of class conflict through revolutionary agitation against a backdrop of graphic kung-fu fighting.
Freudo-Marxism is a loose designation for philosophical perspectives informed by both the Marxist philosophy of Karl Marx and the psychoanalytic theory of Sigmund Freud. Its history within continental philosophy began in the 1920s and '30s and running since through critical theory, Lacanian psychoanalysis, and post-structuralism.
Criticism of Marxism has come from various political ideologies, campaigns and academic disciplines. This includes general intellectual criticism about dogmatism, a lack of internal consistency, criticism related to materialism, arguments that Marxism is a type of historical determinism or that it necessitates a suppression of individual rights, issues with the implementation of communism and economic issues such as the distortion or absence of price signals and reduced incentives. In addition, empirical and epistemological problems are frequently identified.
Marxist aesthetics is a theory of aesthetics based on, or derived from, the theories of Karl Marx. It involves a dialectical and materialist, or dialectical materialist, approach to the application of Marxism to the cultural sphere, specifically areas related to taste such as art, beauty, and so forth. Marxists believe that economic and social conditions, and especially the class relations that derive from them, affect every aspect of an individual's life, from religious beliefs to legal systems to cultural frameworks. From one classic Marxist point of view, the role of art is not only to represent such conditions truthfully, but also to seek to improve them ; however, this is a contentious interpretation of the limited but significant writing by Marx and Engels on art and especially on aesthetics. For instance, Nikolay Chernyshevsky, who greatly influenced the art of the early Soviet Union, followed the secular humanism of Ludwig Feuerbach more than he followed Marx.
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.
Marxism is a method of socioeconomic analysis that originates in the works of 19th century German philosophers Karl Marx and Friedrich Engels. Marxism analyzes and critiques the development of class society and especially of capitalism as well as the role of class struggles in systemic, economic, social and political change. It frames capitalism through a paradigm of exploitation and analyzes class relations and social conflict using a materialist interpretation of historical development – materialist in the sense that the politics and ideas of an epoch are determined by the way in which material production is carried on.
Karl Marx and his ideas have been represented in film in genres ranging from documentary to fictional drama, art house and comedy.
Analytical Marxism is an academic school of Marxist theory which emerged in the late 1970s, largely prompted by G. A. Cohen's Karl Marx's Theory of History: A Defence (1978). In this book, Cohen drew on the Anglo–American tradition of analytic philosophy in an attempt to raise the standards of clarity and rigor within Marxist theory, which led to his distancing of Marxism from continental European philosophy. Analytical Marxism rejects much of the Hegelian and dialectical tradition associated with Marx's thought.
Marxist philosophy or Marxist theory are works in philosophy that are strongly influenced by Karl Marx's materialist approach to theory, or works written by Marxists. Marxist philosophy may be broadly divided into Western Marxism, which drew from various sources, and the official philosophy in the Soviet Union, which enforced a rigid reading of what Marx called dialectical materialism, in particular during the 1930s. Marxist philosophy is not a strictly defined sub-field of philosophy, because the diverse influence of Marxist theory has extended into fields as varied as aesthetics, ethics, ontology, epistemology, social philosophy, political philosophy, the philosophy of science, and the philosophy of history. The key characteristics of Marxism in philosophy are its materialism and its commitment to political practice as the end goal of all thought. The theory is also about the struggles of the proletariat and their reprimand of the bourgeoisie.
Orthodox Marxism is the body of Marxist thought which emerged after the deaths of Karl Marx and Friedrich Engels in the late 19th century, expressed in its primary form by Karl Kautsky. Kautsky's views of Marxism dominated the European Marxist movement for two decades, and orthodox Marxism was the official philosophy of the majority of the socialist movement as represented in the Second International until the First World War in 1914, whose outbreak caused Kautsky's influence to wane and brought to prominence the orthodoxy of Vladimir Lenin. Orthodox Marxism aimed to simplify, codify and systematize Marxist method and theory by clarifying perceived ambiguities and contradictions in classical Marxism. It overlaps significantly with Instrumental Marxism.
Historical materialism is Karl Marx's theory of history. Marx located historical change in the rise of class societies and the way humans labor together to make their livelihoods.
Marxist cultural analysis is a form of cultural analysis and anti-capitalist cultural critique, which assumes the theory of cultural hegemony and from this specifically targets those aspects of culture that are profit driven and mass-produced under capitalism.
