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Introduction to Film Studies
• “A film is a multimedial narrative form based on a physical
record of sounds and moving pictures. Film is also a performed
genre in the sense that it is primarily designed to be shown in a
public performance. Whereas a dramatic play is realised as live
event, and can theoretically be repeated infinitely without any
change. Like drama, film is a narrative genre because it presents
us with a story (a sequence of actions). Often, a film is an
adaptation of an epic or dramatic narrative (examples are
Stanley Kubrick s adaptation of Anthony Burgess s novel “A
Clockwork Orange”, Milos Forman s film of Peter Shaffer’s
• “Amadeus”. (Jahn, 2003)
What is a Movie?
• “A movie is a text that interweaves sound
in any or all of its aspects (noise, music
speech) and image (everything from the
printed word to physical action,
movement, gaze, and gestures) for the
purpose of telling a story”. (Dick, 1998).
Peircian Semiotics The Three Modes
• The Icon
• The Index
• The Symbol
The Symbol
• Symbol/ Symbolic: a mode in which the
signifier does not resemble the signified but
which is fundamentally arbitrary or purely
conventional – so that the relationship must be
learnt e.g. language in general (plus specific
languages, alphabetical letters, punctuation
marks, words, phrases and sentences),
numbers, Morse code, traffic lights, national
flags.
The Icon
• Icon / iconic: a mode in which the signifier is perceived as
resembling or imitating the signified (recognisably
looking, sounding, feeling, tasting or smelling like it) –
being similar in possessing some of its qualities: e.g. a
portrait, a cartoon, a scale model, onomatopoeia,
metaphors, ‘realistic’ sounds in ‘programme music’, sound
effects in radio drama, a dubbed film sound track, imitative
gestures. Film stars may be regarded as intertextual icons
often associated with specific genres and narrative
structures (e.g. James Cagney and the Gangster films)
The Index
• Index/ indexical: a mode in which the signifier is
not arbitrary but is directly connected ion some
way (physically or causally) to the signified - this
link can be observed or inferred: e.g. ‘natural
signs’ (smoke, thunder, footprints, echoes, non-
synthetic odours and flavours), medical symptoms
(pain, a rash, pulse rate) ..Indexes do not exist in
isolation .The icon is always an indexical sign.
Indexicality is culturally bound.
Editing and Mise –en -scene
• These are two fundamental cinematic concepts
• Mise-en –scene includes: decor,types of
shots,colour,lighting, performance,space relations or
blocking,the Gaze,diegetic sound ,angularity.
• Editng refers to the order in which shots are asssembled
within a scene and bewteen scenes.
• Within the Classical Holllywood tradition edting is
supposed to be invisible. This is called continuity editing
• Classical Hollywood narratives were character driven and
interpellated the spectator through their seamlessness in
terms of cutting .The spectator did not become aware of
the construction of the cinematic text .
Camera Shots and Angularity
– 1-Long shot
– 2-Establishing shot
– 3-Medium shot
– 4-Close up
– 5-High angle and low angle
shots.
– 6-Point of view shot
– 7-Two shot
– 8-Soft focus
– 9-Wide angle shot
– 10-Subjective shot
The Gaze
• Spectatorial gaze
• Camera gaze
• Intradiegetic gaze
• Gendered gaze
• Ethnic gaze
• Normalising gaze
• Empowered/disempowered gaze
Cinematic Space
Point of view/audition
• Onscreen space
• Offscreen space
• Focalisation
• Point of view /audition
• Restricted narration
• Voice over
• Spectatorial interpelllation (suture)
• Allegiance/Alignment with onscreen characters
Signifiers in Film Texts
• There are three kinds of signifiers in film
texts:
• 1-Visual
• 2-Auditory or acoustic
• 3-Verbal (speech and print)
• It is fundamental to analyse the interelation
between the three kinds of signifiers
whenever a film is analysed.
Film Theory.:Significant
Approaches
• Media semiotics
• Mise-en-scene Criticism
• Feminist Film Theory
• Psychoanalysis
• Postcolonial Film Theory
• Thematic Approach
• Ideological Criticism
• Intertextual Analysis (Film Adaptation)
Film Genres
• Film Noir
• Female Melodrama
• Gothic Film
Female Melodrama I
• Melodrama :Melos and Drama
• Origins in the pre-revolutionary French
unofficial theatrical performances (18th
century)
• Textual characteristics:
• 1-Emphasis on the victim
• 2-The presence of masochism
Female Melodrama II
• 3-The struggle between female desire and socially
sanctioned femininity (Feminist Film Theory)
• 4-The articulation of unspeakable feelings of the
characters through mise-en-scene
• 5-The inability of the characters to understand the
full implications of their existential position within
society
• 6-Feeling of entrapment within the bourgeois
home
• 7-Lack of agency of the female gaze
Female Melodrama III
• 8-The presence of excess made manifest through
decor, colour, uses of light, and shadow, musical
score and body language
• 9-The casting choices of film stars associated
with this mode (e.g. Bette Davies)
• 10-The subtle critique of the American Dream and
Patriarchal ideology through the subversion of the
narative structure which usually contains a fake
happy ending
• 11-The use of distanciation techniques
Gothic Films I
• Textual characteristics :
• 1-The Fantastic
• 2-The Uncanny
• 3-Haunting
• 4-Abjection and the Grotesque
Gothic Films II
• 5-The presence of the monster or freak
• 6-Monster cannot be expelled
• 7-The intrusion of the Doppelganger
• 8-No narrative closure
Film Noir (Kaplan:1998)
• Textual characteristics:
• 1-Investigative nature of narrative
• 2-Convoluted plots
• 3-Plot devices such as voice over narration (often
male voice over)
• 4-Presence of spider woman /femme fatale
/nurturing woman
• 5-Sharp contrast between light and darkness
• 6-Characters’ subjectivities are fragmented
• 7-Masculinity crisis
Theory of Adaptation
(Hutcheon:2006)
• Transtextuality
• Intertextuality
• Adaptation/Transposition
• Replication/Recreation
• From the linguistic to the iconic
• Dialogic relationship between literature/film
• From hypotext to hypertext
• Fidelity?
Shakespeare on Screen
• The Theatrical Mode (Hindle:2007)
• The Filmic Mode
• The Realistic Mode
• The Periodising Mode
• Adaptation/Appropiation
• The Director as Author

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Film studies 2009

  • 1. Introduction to Film Studies • “A film is a multimedial narrative form based on a physical record of sounds and moving pictures. Film is also a performed genre in the sense that it is primarily designed to be shown in a public performance. Whereas a dramatic play is realised as live event, and can theoretically be repeated infinitely without any change. Like drama, film is a narrative genre because it presents us with a story (a sequence of actions). Often, a film is an adaptation of an epic or dramatic narrative (examples are Stanley Kubrick s adaptation of Anthony Burgess s novel “A Clockwork Orange”, Milos Forman s film of Peter Shaffer’s • “Amadeus”. (Jahn, 2003)
  • 2. What is a Movie? • “A movie is a text that interweaves sound in any or all of its aspects (noise, music speech) and image (everything from the printed word to physical action, movement, gaze, and gestures) for the purpose of telling a story”. (Dick, 1998).
  • 3. Peircian Semiotics The Three Modes • The Icon • The Index • The Symbol
  • 4. The Symbol • Symbol/ Symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional – so that the relationship must be learnt e.g. language in general (plus specific languages, alphabetical letters, punctuation marks, words, phrases and sentences), numbers, Morse code, traffic lights, national flags.
  • 5. The Icon • Icon / iconic: a mode in which the signifier is perceived as resembling or imitating the signified (recognisably looking, sounding, feeling, tasting or smelling like it) – being similar in possessing some of its qualities: e.g. a portrait, a cartoon, a scale model, onomatopoeia, metaphors, ‘realistic’ sounds in ‘programme music’, sound effects in radio drama, a dubbed film sound track, imitative gestures. Film stars may be regarded as intertextual icons often associated with specific genres and narrative structures (e.g. James Cagney and the Gangster films)
  • 6. The Index • Index/ indexical: a mode in which the signifier is not arbitrary but is directly connected ion some way (physically or causally) to the signified - this link can be observed or inferred: e.g. ‘natural signs’ (smoke, thunder, footprints, echoes, non- synthetic odours and flavours), medical symptoms (pain, a rash, pulse rate) ..Indexes do not exist in isolation .The icon is always an indexical sign. Indexicality is culturally bound.
  • 7. Editing and Mise –en -scene • These are two fundamental cinematic concepts • Mise-en –scene includes: decor,types of shots,colour,lighting, performance,space relations or blocking,the Gaze,diegetic sound ,angularity. • Editng refers to the order in which shots are asssembled within a scene and bewteen scenes. • Within the Classical Holllywood tradition edting is supposed to be invisible. This is called continuity editing • Classical Hollywood narratives were character driven and interpellated the spectator through their seamlessness in terms of cutting .The spectator did not become aware of the construction of the cinematic text .
  • 8. Camera Shots and Angularity – 1-Long shot – 2-Establishing shot – 3-Medium shot – 4-Close up – 5-High angle and low angle shots. – 6-Point of view shot – 7-Two shot – 8-Soft focus – 9-Wide angle shot – 10-Subjective shot
  • 9. The Gaze • Spectatorial gaze • Camera gaze • Intradiegetic gaze • Gendered gaze • Ethnic gaze • Normalising gaze • Empowered/disempowered gaze
  • 10. Cinematic Space Point of view/audition • Onscreen space • Offscreen space • Focalisation • Point of view /audition • Restricted narration • Voice over • Spectatorial interpelllation (suture) • Allegiance/Alignment with onscreen characters
  • 11. Signifiers in Film Texts • There are three kinds of signifiers in film texts: • 1-Visual • 2-Auditory or acoustic • 3-Verbal (speech and print) • It is fundamental to analyse the interelation between the three kinds of signifiers whenever a film is analysed.
  • 12. Film Theory.:Significant Approaches • Media semiotics • Mise-en-scene Criticism • Feminist Film Theory • Psychoanalysis • Postcolonial Film Theory • Thematic Approach • Ideological Criticism • Intertextual Analysis (Film Adaptation)
  • 13. Film Genres • Film Noir • Female Melodrama • Gothic Film
  • 14. Female Melodrama I • Melodrama :Melos and Drama • Origins in the pre-revolutionary French unofficial theatrical performances (18th century) • Textual characteristics: • 1-Emphasis on the victim • 2-The presence of masochism
  • 15. Female Melodrama II • 3-The struggle between female desire and socially sanctioned femininity (Feminist Film Theory) • 4-The articulation of unspeakable feelings of the characters through mise-en-scene • 5-The inability of the characters to understand the full implications of their existential position within society • 6-Feeling of entrapment within the bourgeois home • 7-Lack of agency of the female gaze
  • 16. Female Melodrama III • 8-The presence of excess made manifest through decor, colour, uses of light, and shadow, musical score and body language • 9-The casting choices of film stars associated with this mode (e.g. Bette Davies) • 10-The subtle critique of the American Dream and Patriarchal ideology through the subversion of the narative structure which usually contains a fake happy ending • 11-The use of distanciation techniques
  • 17. Gothic Films I • Textual characteristics : • 1-The Fantastic • 2-The Uncanny • 3-Haunting • 4-Abjection and the Grotesque
  • 18. Gothic Films II • 5-The presence of the monster or freak • 6-Monster cannot be expelled • 7-The intrusion of the Doppelganger • 8-No narrative closure
  • 19. Film Noir (Kaplan:1998) • Textual characteristics: • 1-Investigative nature of narrative • 2-Convoluted plots • 3-Plot devices such as voice over narration (often male voice over) • 4-Presence of spider woman /femme fatale /nurturing woman • 5-Sharp contrast between light and darkness • 6-Characters’ subjectivities are fragmented • 7-Masculinity crisis
  • 20. Theory of Adaptation (Hutcheon:2006) • Transtextuality • Intertextuality • Adaptation/Transposition • Replication/Recreation • From the linguistic to the iconic • Dialogic relationship between literature/film • From hypotext to hypertext • Fidelity?
  • 21. Shakespeare on Screen • The Theatrical Mode (Hindle:2007) • The Filmic Mode • The Realistic Mode • The Periodising Mode • Adaptation/Appropiation • The Director as Author