The Art of Film Analysis and Interpretation - Essay Example

Running Head: Film Analysis and Interpretation The Art of Film Analysis and Interpretation A Reflective Paper of Submission Introduction When a movie means something, it implies that it has some argument or theme in it. This essay will argue that if a movie has something to discuss about a particular issue, it evaluates or criticizes an issue; it presents a clear or masked interpretation of the subject (Nelmes, 2003). In addition, meaning may helpfully be seen as the manifestation, and communication, of a judgment, a reflection, an observation, or an idea of something; moreover, it may assume the form of a critique or an argument about a similar event (Gibbs & Pye, 2005). In general, to illustrate a movie as meaningful indicates that this movie is seen as presenting a way of understanding something that it signifies. Analyzing a movie is especially essential in writing a carefully planned review of it. Furthermore, the pleasure of analyzing a work of an expert and well-known moviemaker can help you take pleasure in a film to a different level on the whole. It’s all a matter of perception. Opportunely or inopportunely, skilled moviemakers do not frequently share the perception of the viewers. Hence, it is important that one appreciates the essence of another’s point of view. There are numerous things about a film which can be analyzed and interpreted to obtain the best idea about what a movie is all about. Movies can be analyzed and interpreted in innumerable ways, and each is acceptable. This essay will discuss what essentially has to be done. How to Analyze a Movie Suppose you were asked to write a film analysis for a local newspaper or as university homework. Even if you are a certified movie buff, you do not know anything about doing a film analysis and hence it may appear to be a difficult assignment. Nevertheless, making a movie analysis is not that hard as some people believe. Aside from proficiency in the English language, what a movie analyst needs is some fundamental knowledge about how to construct a film analysis (Rutsky & Geiger, 2005). First, it is important to conduct research work. Prior to watching the movie, it is especially vital to carry out research work (Rutsky & Geiger, 2005). Try to make sense of the movie’s context, such as the underlying plot, the main characters, filmmaker, script writer, and others. Try to determine if the story is a true or original story, sequel of another film, or adaptation of a work of fiction. Movie analyst should also explore earlier works of the actors and the filmmaker (Nelmes, 2003). This aids in identifying the meaning or content of the movie. Second step is watching the movie. In order to make an accurate evaluation, it would always be advised to watch the film a number of times. This would help the movie analyst to make sense of specific premises of the movie well (Monaco, 2000). It is important to take down some essential details or points while watching the film. After watching the movie, it is vital to construct a certain judgment of the movie, as this is what audiences seek in the movie analysis (Monaco, 2000). A movie analyst should also examine the movie for essential details such as whether it is action, historical, comedy, etc. (Pramaggiore & Wallis, 2005). Third, it is extremely vital to draw the attention of the audience from the expression ‘Go’. In order to accomplish this, a movie analyst would have to find a proper argument that is attention-grabbing and appealing (Rutsky & Geiger, 2005). One fine idea would be to begin with specific important lines extracted directly from the film; otherwise the movie analyst can talk about the movie’s trailer and whether the movie is as first-rate as the publicity that was produced (Rutsky & Geiger, 2005). Having an excellent beginning would certainly help in drawing the attention of audiences. A movie analyst can also compare this movie with other movies or from the novel from which it was adapted. Fourth, the lead of the movie analysis should be followed by the narrative’s synopsis. At this point, the movie analyst should be extremely careful, as s/he should not reveal the entire narrative to the audience, specifically the end (Monaco, 2000). A movie analyst should explain the fundamental plot, however prevent from revealing the crucial scenes and twists that comprise the core of the movie. Talk about aspects that were bad and those that were good and also elaborate the explanations of it (Monaco, 2000). Still, a movie analyst should not stick to the central narrative; instead s/he has to comment about the plot, script, acting, direction, cinematography, special effects, and others (Pramaggiore & Wallis, 2005). Fifth, it is essential to make an analysis of the other aspects of the movie interesting. A movie analyst can use his/her creativity with the aid of analogies, metaphors, adverbs, adjectives, etc. to sustain the interest of the audiences in his/her analysis (Nelmes, 2003). Sixth, truthfulness is an especially vital attribute a movie analyst should have while constructing a film analysis. The analysis should reflect what the analyst felt about the film (Gibbs & Pye, 2005). S/he should prevent from reading analysis made about the film by other movie analyst, as there are risks that s/he may be influenced by them. It is important to remember here that every person can have dissimilar judgments about similar things and a movie analyst’s only responsibility is to construct his/her perspective (Gibbs & Pye, 2005). S/he can conclude his/her analysis by stating his/her judgment about the film in one sentence. This discussion should have presented an idea on how to effectively analyze a movie. A movie analyst should keep in mind that though it is essential to be truthful about his/her outlook towards the film, s/he should never dissuade the audiences from watching the film (Monaco 2000). A first-rate film analysis would be that which persuades the audience in going to see the movie. How to Interpret Meaning in Movies A sign, for semiologists, should be made up of two components: the signifier and the signified. For instance, the term ‘word,’ the group of sounds or letter, is a signifier; what it embodies is the signified (Pramaggiore & Wallis, 2005). In movies, the signifier and the signified are more or less the same: the sign of a movie is a short-circuit indication. It is the presence of the short-circuit indication that renders the language of movies very hard to discuss (Pramaggiore & Wallis, 2005). As pointed out by Metz: “A film is difficult to explain because it is easy to understand” (Monaco, 2000, 171). It is not possible to alter the signs of a film: an image of a rock is an image of a rock, nothing else. The power of words is that there is a remarkable disparity between the signifier and the signified (Monaco, 2000); the command of a movie is that there is not. However, a movie resembles a language. Apparently, one individual’s image of a particular object is different from another’s (Nelmes, 2003). Yet, in film, audiences see the same image, while the director can select from an innumerable variety of images and then take pictures of the one selected in another innumerable variety of ways. The option of an artist in film has no limit; the option of an artist in literature is limited, while the reverse is accurate for the spectator (Rutsky & Geiger, 2005). In this context, film does not advocate: it affirms. And in that rests its power and the risk it creates to the spectator: the reason why it is important, even crucial, to acquire the skills of reading meanings well so that the spectator can take hold of some of the command of the medium (Rutsky & Geiger, 2005). An observer will understand more and gain more power over the medium if s/he reads meanings well. Audiences should try to interpret the signs they see so as to accomplish the intellection process. The more effort they put into it, the better the harmony between the creator and spectator in the process; the greater the harmony, the more essential and profound the work of art (Gibbs & Pye, 2000). It would appear that a real art of interpreting meanings in movies would rely on the analyst’s capability of identifying the smallest unit of creation. It can be done in principle, at least for the representation or image (Monaco 2000). However this is definitely not the meaning’s smallest unit. The reality is that film, dissimilar from spoken or written language, is not made up of units, per se, but is instead a range of meaning. A scene is made up of myriads of information as an analyst try to interpret it, and whatever units s/he identify within the scene are subjective (Nelmes, 2003). Hence, film provides an analyst with a language that: (1) is made up of short-circuit signs where in the signifier is almost tantamount to the signified; and (2) relies on a non-discrete, continuous pattern where in a film analyst cannot define an essential unit and which thus s/he cannot illustrate quantitatively (Monaco, 2000). The outcome is, as stated by Christian Metz, that: “An easy art, the cinema is in constant danger of falling victim to this easiness” (Monaco, 2000, 160). Movies are very intelligible, which is the reason why it is hard to interpret and analyze. Personal Reflection Today, it appears that we watch movies entirely on the basis of entertainment value and totally disregard the perseverance and commitment that went into the films’ production. Every component of the production of movies, from writing a script to editing, requires more creativity than many people think. A substantial level of ingenuity goes into the subplots and character development, and creates a musical score and design; furthermore, the mere amount of imagery that goes into those aspects can be downright amazing. However, it is exactly our familiarity or exposure with movies that makes film analysis a difficult task. Movies are quite familiar and quite common in our lives that we are frequently tempted into plain entertainment or passive viewing. Consequently, particular features of a movie are frequently indiscernible. Over-engaged in the entertainment, we at times fail to ‘discern’ the composition, camera work, editing, and technical qualities such as lighting and sound. We also fail to ‘see’ the creativity and production skills that go along with every movie—including the casting problems, the struggle for project funding, the numerous rewrites of the screenplay, and others. Yet, when your professor instructed you to analyze a movie, it is exactly those ‘indiscernible’ features that s/he wants you to see. Focus on the camera movement. Make a note of the composition, such as the organization of things, shadow, and light, within the frame. Consider the editing of the movie. In other words, take into account the components that compose the film. In addition, consider the movie in the context when it was produced, and by whom. In deconstructing the movie into its basic components, you will be capable of analyzing what you discern. As you analyze and interpret a movie, it is important to keep in mind that you are not constructing a review. Reviews are commonly arbitrary: they look at a person’s reaction to a movie and hence do not necessitate analysis, research, etc. Consequently, reviews are frequently both crude and ‘witty’, using the sensational twists of expression of popular articles. Although reviews can be helpful and even amusing bits of prose, they commonly do not meet the criteria of ‘academic writing’ (Nelmes, 2003). Film is a remarkably complicated medium. Just look into the any film’s credits at the end. Every individual listed there has made his/her contribution to the production of the film—from editing, to lighting and sound, to special effects. Since there is a great deal to discuss, you will have to be discriminating if you aim to create a first-rate, focused film analysis. If you are a beginner to analyzing a film, try to familiarize yourself with the movie expressions. Learning the expressions at times helps you to distinguish them on the film. You will be able to ‘discern’ the disparity between a fade and a dissolve. Ensure that you have an effective knowledge of how all the primary elements of the movie- writing, editing, acting, composition, lighting, sound, and others—collaborate to generate what you see on the film. Afterwards, when watching a specific movie, pick from among these several components one or two that fascinate you. Do you think the filmmaker’s use of cutaways inventive? Watch tightly when these particular cuts transpire. Maybe the filmmaker has employed cutaways every time whenever characters are involved in personal dialogues. What does s/he want to communicate through this method? If you are completely unfamiliar with a movie and are not certain what you must be exploring, consult a film professional. Conclusion Making a film analysis is always difficult and quite tricky. The analyst should have to be fairly observant and be capable of making sense of particular aspects that are not consistently conveyed visibly in these artistic imageries. Making a film analysis also requires a great deal of originality, creativity, and imagination. This is also a fascinating and engaging subject to develop, as it will require a level of research work on the issue, a part representation of individual insights and judgments, and at times the analyst may also have to insert a critical analysis. A film analysis and interpretation should be detailed, unambiguous and constructed in an imaginative way. There should be a focal point within the analysis on the impact the film had on the general public, critics, and the media. The analyst should give effort in analyzing the controversial aspect of the film, if any. In addition, she can speak up and disprove his/her standpoint on the controversial subject. The best method to make an analysis and interpretation is to watch the film, then draft an outline, explore the specified issue and construct in accordance to the drafted outline. When the film analysis and interpretation is done then the analyst should perform the proofreading and editing task quite cautiously in order for him/her to provide a fully polished film analysis. References Gibbs, J. & Pye, D. (eds). (2005). Style and Meaning: Studies in the Detailed Analysis of Film. UK: Machester University Press. Monaco, J. (2000). How to Read a Film: The World of Movies, Media, Multimedia: Language, History, Theory. New York: Oxford University Press. Nelmes, J. (Ed.). (2003). An Introduction to Film Studies. New York: Routledge. Pramaggiore, M. & Wallis, T. (2005). Film: A Critical Introduction. UK: Laurence King Publishing. Rutsky, R.L. & Geiger, J. (eds). (2005). Film Analysis: A Norton Reader. New York: W.W. Norton & Company. Read More