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The main task of a film study lesson is to facilitate students to face the basics of film text, appreciate the style, language and implications of the movie. In fact an interpretation of the language of a film forms the basis of interrogating the film. Such interrogation is also about integrating all the elements associated with a movie including performance, technical details like camerawork, editing, etc (Benyahia and Mortimer, 2012). In fact the genre has survived in the mass culture because people would like to see the same thing repeatedly. For instance, while watching a detective film one would expect stereotypical approach and would be disappointed to find any strong cultural demand that the film might have on him or her. Thus the concept of genre is associated with repetition. Such repetition gradually takes away the originality and produces mere copies such that the student has no basic text or base to study. Often the mass culture puts before us a methodological dilemma which any conventional pattern of commentary cannot address (Jameson, 1979, p.138). An original or authentic cultural production would derive on the anecdotes in several niche of the social life around the world. Critical interrogation would provide space for “mechanisms of manipulation, diversion, degradation” etc which are constantly working within the mass culture and media (Jameson, 1979, p.141). This in turn would permit us to adapt and study mass culture not simply as a kind of distraction or false consciousness but in fact a work of revolution on social and political anxieties and fantasies which may be managed effectively.
A psychoanalytic approach clearly reveals that the involvement with films can be established by certain kinds of likes and dislikes which are already dominating a person alongside the social formations which are giving shape
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