Post by gretchen on Jul 10, 2005 14:09:20 GMT -5
The film critic Christian Metz has written "A film is difficult to explain because it is easy to understand." We are used to sitting back in the dark and viewing a film uncritically; indeed, most Hollywood films are constructed to render “invisible” the carefully constructed nature of the medium. Further, because a film is constructed of visual, aural, and linguistic components that are manipulated in numerous ways, it is a challenge to take apart the totality of the film experience and to interpret how that experience was assembled.
Below you will find brief explanations of ways to analyze the language of film. While this list is not comprehensive, it does contain a lot of information. If film interpretation is new to you, you will not be able to keep track of all these elements while viewing the film—this is an acquired skill. Concentrate at first on a few things that seem to offer the most opportunity for critical reading.
If viewing the film only once, try to take notes in shorthand while watching the film. Arrows can be used to note camera angle and camera movement; quick sketches can be used to note shot composition and elements of mise-en-scene. As soon as possible after viewing the film, write out your impressions of the film, noting the most important elements. If you will be writing on the film and will be seeing it again, take minimal notes the first time through (although do note important scenes you will want to return to) but still maintain a critical distance.
When analyzing a film as a historical document, keep in mind the film's contemporary audiences or authors. Your own personal reaction to the film may serve as a starting point, but you need to convert these impressions into historical analysis—how are you different and similar to the historical audiences/authors? What has changed and what has stayed the same? Remember too the technological changes that have taken place, and keep in mind what audiences would have expected, and how film makers used the technology at their disposal. It is especially important to consider substantial changes in the manner of presentation if you will only be watching the film on a television. Also, be aware that most Hollywood films made after the early 1950s have an "aspect ratio" (height and width ratio) different from television screens. Most video tapes of these films have been altered by the "pan and scan" method which dramatically changes elements such as shot composition and camera movement. Video tapes that are "widescreen" preserve the correct aspect ratio. Most DVDs now come in both "standard" (altered) or "widescreen" (check the writing on the disk) or only in the correct aspect ratio, and most laser disks use the correct aspect ratio. If possible, find a format that has not altered the aspect ratio.
MEANING
Themes/tropes—The broad ideas and allusions (themes) that are established by repetition of technical and linguistic means (tropes) throughout the film (such as alienation, power and control, transcendence through romantic achievement, etc.)
Intent/Message—Sometimes, as with a film like JFK (the Kennedy assassination was the result of a massive government conspiracy) or Wayne's World (adolescence is a goofy time that provides plenty of laughs), this is obvious. (Just because the message is obvious, doesn't mean that the film is simple, or that there is not a contradictory subtext). Sometimes, however, the filmmakers aren't sure of their message, or the intended message becomes clouded along the way. At other times, the filmmakers (principally the producer, director, actors and actresses) are at odds over the intent. At other times, the film makers intend one message and many in the audience interpret the film differently.)
Metaphor and metonymy/symbolism—Similar to literary interpretation, only consider all aspects of the film—linguistic, visual, aural. Metaphors are elements that represent something different from their explicit meaning (for example, the rose petals in American Beauty). Metonyms are elements that are similar or the same (for example, in the final scene of The Grapes of Wrath, Tom Joad represents the lonely battle of activists and Ma represents the resilience of "the people"; or when a part of the whole—such as a close-up of a woman's leg—represents women as sexual objects). Metaphors and metonyms only gain relevance if they are repeated in significant ways or connected with the larger meaning of the film. (Avoid simplistic equations such as the white table symbolizes A; the high angle shot of a character symbolized B).
Subtext—The often numerous messages a film conveys beneath the surface; sometimes intended, often unintended, and sometimes conveying a different or contradictory message than the intended message. Look especially for ironies, contradictions, interesting juxtapositions, or if something initially doesn't seem to “make sense.” Subtext is usually developed through the use of figurative elements like metaphor and metonymy.
Below you will find brief explanations of ways to analyze the language of film. While this list is not comprehensive, it does contain a lot of information. If film interpretation is new to you, you will not be able to keep track of all these elements while viewing the film—this is an acquired skill. Concentrate at first on a few things that seem to offer the most opportunity for critical reading.
If viewing the film only once, try to take notes in shorthand while watching the film. Arrows can be used to note camera angle and camera movement; quick sketches can be used to note shot composition and elements of mise-en-scene. As soon as possible after viewing the film, write out your impressions of the film, noting the most important elements. If you will be writing on the film and will be seeing it again, take minimal notes the first time through (although do note important scenes you will want to return to) but still maintain a critical distance.
When analyzing a film as a historical document, keep in mind the film's contemporary audiences or authors. Your own personal reaction to the film may serve as a starting point, but you need to convert these impressions into historical analysis—how are you different and similar to the historical audiences/authors? What has changed and what has stayed the same? Remember too the technological changes that have taken place, and keep in mind what audiences would have expected, and how film makers used the technology at their disposal. It is especially important to consider substantial changes in the manner of presentation if you will only be watching the film on a television. Also, be aware that most Hollywood films made after the early 1950s have an "aspect ratio" (height and width ratio) different from television screens. Most video tapes of these films have been altered by the "pan and scan" method which dramatically changes elements such as shot composition and camera movement. Video tapes that are "widescreen" preserve the correct aspect ratio. Most DVDs now come in both "standard" (altered) or "widescreen" (check the writing on the disk) or only in the correct aspect ratio, and most laser disks use the correct aspect ratio. If possible, find a format that has not altered the aspect ratio.
MEANING
Themes/tropes—The broad ideas and allusions (themes) that are established by repetition of technical and linguistic means (tropes) throughout the film (such as alienation, power and control, transcendence through romantic achievement, etc.)
Intent/Message—Sometimes, as with a film like JFK (the Kennedy assassination was the result of a massive government conspiracy) or Wayne's World (adolescence is a goofy time that provides plenty of laughs), this is obvious. (Just because the message is obvious, doesn't mean that the film is simple, or that there is not a contradictory subtext). Sometimes, however, the filmmakers aren't sure of their message, or the intended message becomes clouded along the way. At other times, the filmmakers (principally the producer, director, actors and actresses) are at odds over the intent. At other times, the film makers intend one message and many in the audience interpret the film differently.)
Metaphor and metonymy/symbolism—Similar to literary interpretation, only consider all aspects of the film—linguistic, visual, aural. Metaphors are elements that represent something different from their explicit meaning (for example, the rose petals in American Beauty). Metonyms are elements that are similar or the same (for example, in the final scene of The Grapes of Wrath, Tom Joad represents the lonely battle of activists and Ma represents the resilience of "the people"; or when a part of the whole—such as a close-up of a woman's leg—represents women as sexual objects). Metaphors and metonyms only gain relevance if they are repeated in significant ways or connected with the larger meaning of the film. (Avoid simplistic equations such as the white table symbolizes A; the high angle shot of a character symbolized B).
Subtext—The often numerous messages a film conveys beneath the surface; sometimes intended, often unintended, and sometimes conveying a different or contradictory message than the intended message. Look especially for ironies, contradictions, interesting juxtapositions, or if something initially doesn't seem to “make sense.” Subtext is usually developed through the use of figurative elements like metaphor and metonymy.
