The Process of Examining Films - Term Paper Example

Introduction To the American public cinema has become one of the primary pastimes. Going to the movies on Friday and Saturday nights is a deeply embedded ritual among great amounts of teenagers and elderly alike. Movie stars and even specific directors, such as Martin Scorsese and Steven Spielberg, are reserved a position within American society akin to royalty, with the multi-million dollar salaries they receive only a part of the celebratory acclaim they receive. With so much fanfare surrounding the cinema the question as to what actually constitutes a quality film is a highly complex. Indeed, when many people read lists of the 100 best movies they are often dumbfounded at the inclusion of many films they deem boring or plain bad. Similarly, many film critics will pan Hollywood blockbusters that go on to make millions of dollars. However, in film analysis the writer must go beyond these simple constructs and delve into the filmmaker’s thematic and stylistic intentions. This essay considers varying means by which academic film analysis can be achieved, with specific emphasis on thematic elements, visual elements, and editing, and also posits a personal perspective on the task of analyzing a film for its artistic qualities. Thematic Elements One of the central areas of importance in film analysis concerns the examination of a film for its thematic elements. In these regards, films can be read similar to the means by which one would analyze a work of literature. While there are undeniable similarities between film and novels, writers (Boggs 2006) have argued that there is a distinct difference between examining theme in terms of a film and theme in terms of a novel; while the novel represents theme through an idea, for film the theme is understood as the central unifying concept of the entire text. Another feature that is notable when examining films are the varying stylistic devices that the filmmaker has at their disposal. They include, “1) plot, 2) emotional effect or mood, 3) character, and 4) style or texture” Boggs (2006, pg. 20). Indeed, it’s understood that while all these elements will exist within a film, the filmmaker will choose to emphasize one specific element over the others. It follows that in analyzing a film, one must determine which elements the filmmaker has chosen to analyze and for what purpose. While these theme elements seem like simple distinctions, the difference between a film that emphasizes plot over style or texture can be drastic; consider for instance the plot driven narrative in a film such as Raiders of the Lost Arc as compared to the more texture driven production of a film such as Sin City. An in-depth analysis of these films would understand the stylistic emphasis within Sin City and take this into consideration when examining the film’s artistic merits. These thematic elements can be used as a starting point in film analysis. One’s the writer has determined the film’s emphasis they can further attempt to encapsulate the film’s message. For instance, Boggs (2006) suggests on number of such central ideas that are frequently characteristic of films; he suggests moral implications, the truth of human nature, social problems, and the struggle for human dignity. Consider, for instance, the Shawshank Redemption and the struggle Tim Robbins and Morgan Freeman’s character make for human dignity. This comes to represent the central theme, as the film explores the two men’s struggles within the prison environment. Indeed, one can make a convincing argument that a major portion of the film’s powerful conclusion is derived from the divergent ways these two characters ultimately resolve their struggle for human dignity. Ultimately, through analyzing a film through these thematic tropes, the writer is able to more penetratingly expose its central meaning and develop a more insightful analysis. Visual Design Even as the diversity that a film can be analyzed for its thematic content is only limited by the scope of the director’s imagination, a thorough film analysis should also consist of attention to the visual design. While some individuals have referred to this segment of film analysis as the film’s mise-en-scène, it seems that this term may encapsulate too broad a characterization of visual design; instead, in analyzing a film’s visual design there are a number of specific and highly important features to consider. One such strikingly obvious visual element that warrants examination is the director’s implementation of either black and white or color film. While there was a period in film history when the choice to implement black and white over color was more closely related to expense, or even audience preference for black and white, today when a director chooses to implement black and white film it is generally for a specific artistic purpose. For instance, consider Peter Bogdanovich’s (as cited in Boggs, pg. 92) explanation for why he used black and white in the Last Picture Show, “I didn’t want the film to look pretty...Color always had a tendency to prettify, and I didn’t want that.” Similarly, Steven Spielberg used black and white in Schindler’s List to achieve a more somber and meditative effect. In these regards, when examining a film’s visual design color vs. black and white is a highly important feature to consider. Another visual concern that should be central to film analysis is that of setting. Setting constitutes a wide variety of factors, including whether the director chooses to film within a studio, or implement on location shooting. Oftentimes, insightful film analysis will reveal the film’s subtle connections between the setting, plot, and character elements. Consider, the Cabinet of Dr. Caligari, one of the critically most important films of the 20th century for its implementation of the German Expressionist mise-en-scene (Bordwell & Thompson 2009). The style was greatly influenced by similar movements other visual arts and incorporated by director Robert Wiene to great stylistic aplomb. Later critics identified the film’s visual design as being indicative of the German psyche and authoritarian regime (Elsaesser 2000). The final scene of the film finds the two main characters and the monster (Cesare) grouped together in the asylum with one of the main characters (Francis) warning his friend to not ask Cesare to tell his fortune as it will result in Cesare murdering him. Oblique lines expressionist lines extend throughout the ground. These expressionistic lines seem to represent the fractured psyche of post-war Germany, with different fractions carrying on their own interpretation of events and trying to piece together a sane whole (Bordwell & Thompson 2009). It’s here that the viewer understands that the film has been the psychological delusion of Francis and that Caligari is actually the director of the asylum. While this is supposed to offer closure and vindicate Caligari, the inclusion of the expressionist setting leads the viewer to continue to question the validity of the doctor, and wonder if Francis’ suspicions are somehow justified (Bordwell & Thompson 2009). While the example of this film is an extreme example of the inter-relation of a film’s visual and thematic elements, a thorough film analysis can function to reveal such a connection in nearly every film of artistic merit. Another central element of visual design concerns the director or cinematographer’s implementation of lighting. Indeed, the central importance of lighting in film has long been noted by scholars, with frequent references made to the connection between the names of the inventors of film – Lumiere – which means light in French. In terms of lighting, filmmakers have a number of factors under their control. Consider Todd Rainsberger (as cited in Boggs, 2006, pg. 114) who states, “Just as no two artists use the same brush strokes, no two cameramen control light in exactly the same manner.” Some of the most important factors to consider in film analysis, concern the intensity of the light, with the differentiations referred to as low-key and high-key lighting. The filmmakers’ choice of either low-key or high-key lighting can have significant implications for the mood of the film; it is generally accepted that high-key lighting, with its lack of darkness and shadows, is more suitable for comedic, or light-hearted scenes. Conversely, low-key lighting can be utilized for dark, morally ambiguous films. In fact an entire genre of film referred to as film noir emerged in the 1930s and 1940s that was explicitly characterized by low-key lighting. In analyzing these films, such as Double Indemnity, French and later American film critics were able to identify the films’ thematic emphasis on this stylistic device and link it to specific narrative conventions that were characteristic of these films. Today, film noir influences remain highly prevalent in films such as a Sin City, and even many of Martin Scorsese’s work. While ultimately varying intensities of lighting can be implemented to achieve an equally varying amount of effects, it’s important for in-depth film analysis to consider the relation between the intensity of light and the films thematic intentions. While the intensity of light can greatly alter the mood of a scene, a number of filmmakers choose to forego artificial light, or staged settings, and instead shoot their film in a natural environment. There are a number of diverse reasons filmmakers might choose to film in a natural environment, and it’s important for film analysis that the writer examine and consider the relation between these reasons in regards to the film’s overarching thematic concern or trope. For example, consider Woody Allen’s choice to shoot his Academy Award winning film Annie Hall in the natural setting of New York. As the film was a highly personal exploration of the relationship of the characters played by Woody Allen and Diane Keaton, the natural setting gave the film a more intimate and genuine feel that could be achieved had it be shot in a studio, or with the interference of artificial lighting. The decision to shoot the film in New York was also stylistically effective as the city’s natural splendor is more powerful than almost anything that could be created in a studio environment. In these regards, it’s essential to consider Woody Allen’s utilization of a natural setting in Annie Hall as it constitutes a major portion of the film’s ultimate meaning. Editing Another essential factor to consider in film analysis is the film’s use of editing techniques. Beginning with D.W. Griffith and his incorporation of inter-cutting into film, editing has been a progressive effort of challenging the viewer to expand their film vocabulary (Chandler 2009). In the 1960s French New Wave directors, most notably Jean-Luc Godard, began implementing jump-cuts, both as a means of bringing freshness to the screen, as well as to compensate for errors in filming (Chandler 2009). One can even make the case that the evolution of film is directly linked to the evolution of editing concepts. In all instances, it’s highly important for film analysis to consider the relation between the films editing and its intended thematic meaning. For example, through Slumdog Millionaire director Danny Boyle and editor Chris Dickens utilize hybrid forms of editing, including Russian Formalist montage, intercutting, and classical continuity and non-continuity, to effectively draw the viewer into an uplifting underdog story that transcends time and space. From the opening scene of the film the editing technique of cross-cutting are used to establish Jamal as the hero of the story. In fact, it can be argued that the function of the first five minutes of the film serve this purpose entirely. Initially, we find Jamal in the smoke filled chambers of two men investigating him, as text is placed on the screen identifying Jamal as, “one question away from winning 20 million rupees” the investigator strikes him and the film cuts to the opening of the show, Who Want to be a Millionaire, also featuring Jamal. The following scene cuts back to the smoke-filled room again featuring Jamal. These cross-cutting techniques persist throughout the film, leading the viewer to identify Jamal as the protagonist of the story. Eventually, Jamal is strung up and electrocuted and the investigators ask him how he was able to answer the questions on the show. He responds, “I knew the answers” and the film immediately cuts to a scene with boys playing baseball, where Jamal is again identified by text on the screen. Here, editing is used to further extend Jamal as the hero of the story, as his childhood told in reverse, along with his current dilemma, all feature him as the most predominant character on the screen. While Slumdog Millionaire is a drastic example of how editing can effect and even determine plot elements, the very fabric of film is structured around editing; subsequently editing is a central element in film analysis. Personal Evaluative Criteria While the academic style of film analysis is highly important in unraveling the film’s meaning, the vast majority of people watch movies to be entertained. As a result, when most people set about determining the elements of a film that make it good, they immediately consider things that entertain them. In considering my personal evaluative criteria, I believe it’s important to consider the entertainment value a film possesses. While encapsulating what makes great entertainment is a near impossible task, this is what Hollywood producers are called upon to do with every film. While films such a film such as Titanic is greatly different than Avatar there are specific elements, such as excitement and imagination that these films share that make them great movies for entertainment. While films such as Titanic are successful because they offer excellent entertainment value, many film critics judge good movies on an entirely different set of criteria. I also believe that is necessary to recognize this perspective. For film critics, historians, and professors, what constitutes a good film is based largely on the film’s artistic merits. Indeed, although Titanic was widely successful at the box office many people interested in film for its art, such as director Robert Altman, believed the film was terrible (Friedman 2002). While there is no set definition of what actually constitutes art, many scholars place a high emphasis on a film’s originality and its stylistic breakthroughs. Furthermore, certain films are considered great because they have a lasting impact on other films and directors. While today most people are unable to find entertainment value in Birth of a Nation and the Cabinet of Dr. Caligari, it is possible to appreciate these films for the important influence they had and continue to have on other films; indeed, without examining and appreciating films for these values it would be impossible for film to evolve at its greatest capacity. Conclusion As can be seen the process of examining films involves the complicated interaction of thematic elements, visual design, and editing. Within these categorical distinctions there are also a multitude of subcategories that further aid one in unraveling the film’s meaning. While these categories stand for the broad categories for film interpretation, ultimately there exist as many ways to interpret film as there are ways to imagine and create it. In addition to these academic means of interpretation, a personal evaluative criterion is proposed that examines a film based on its entertainment value, or its artistic value as a work of great importance and influence to the evolution of film. 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 Elsaesser, T. (2000). Weimar Cinema and After: Germany's Historical Imaginary. New York: Routledge. Friedman, Roger (2002). "Altman: Titanic Worst Movie Ever". Fox News. http://www.foxnews.com/story/0,2933,47613,00.html. Read More