Critical Approaches to Film

1. Critical Approaches to Film Essay Preparation & Critical Approaches recap

2. Type of assessment Word count: 2000 % Of module mark: 40% Deadline: 7th March 2014 (4pm) • What will you learn by doing this? • Develop analytical writing skills and engagement • with critical concepts and scholarly literature.

3. Question: • Auteur theory and genre theory are often considered to be in opposition to one another. • Which is a more useful critical approach to The Searchers OR Unforgiven OR The Big Sleep?

4. Important advice to remember Your response should seek to combine a demonstration of understanding of theories of authorship and genre with original analysis of the film; that is, you should aim to apply and assessthe theories rather than simply describe it. Please note that you are expected to be creative and original in your response to this question, and to bear in mind that depth of analysis of the film is what is sought. Remember that your response must be expressed in continuous prose, and that you must avoid personalisation and uncritical vocabulary. You must also make sure you refer to the relevant guidelines for proper referencing. Plagiarism will result in a fail. See Guidelines for Film Studies Submission.

5. What you will be marked on: • As a guide, the Essay will be assessed according to the following criteria: • Depth, originality and persuasiveness of analysis of the films. • Understanding, application and assessment of the theories. • Level of independent research employed, in addition to lecture material. • Construction of a convincing, well-structured intellectual argument. • Appropriateness of presentational style, including accuracy of referencing.

6. How can you prepare for this? • Read up on auteur & genre theory • Read up on the director • Ideally, watch other films by the same director(s) • Watch the film several times and analyse it in detail

7. Recap (Genre Theory)

8. Genre Theory • Way to study film • Not just about films belonging to a group • Genres based on different things e.g. • story content (the war film) • artistic status (the art film) • racial identity (black cinema) • location (The Western) • sexual orientation (Queer cinema) • As far back as 1950s Bazin discussing genre • 60s & 70s: genre criticism saw move away from auteur concept • Genre study = more inclusive discipline?

9. Chicken or the egg?A problem with using genre theory? Andrew Tutor (Genre 1974) finds the term genre problematic.

10. Using genre to analyse films Formal Elements Iconography (symbolic meaning we attach to images) More easily identifiable Deeper level of analysis needed. Read layers of production • Tone (lighting, music, cinematography)

11. Examples of formal elements & Genre Can be used for all genres Costume Setting Star Staging

12. Tone How do the formal elements create a tone to a film? Noir lighting POV shots for thriller/ horror Use of music associated with genres

13. Narrative • Genres typically adhere to formulaic way of telling story • Blueprints • Frequently repeated across number of films • E.G. Jim Kitses on The Western & Binary Oppositions

14. Advantages & disadvantages of using genre theory?

15. Rick Altman (1984) • Genre = inclusive – easy to construct long list of films that fall into specific genre • Genre theory – too preoccupied with semiotics (signs, iconography & meaning) • Need to consider historical emergence of genre movies • Need to account for how genres develop, mutate, rise and fall in popularity • Semantics & Syntax • 2 approaches for analysing genre • Greater understanding is achieved • through combination of both

16. Audiences • Should consider audiences • They get targeted by the industry • Certain films associated with men/ women • Genre dependent on audience expectation

17. Steve Neale (‘Questions of Genre’ 1990) Two things central to understanding of genre 3 things to consider: 1. Pre-history (Development from other forms of media) 2. All films regardless of quality 3. Factors other than content (advertising, studio policy, stars)

18. Genre Revisionism Genre Hybridity

19. Recap (Auteur Theory)

20. Auteur Theory A film director whose personal influence and artistic control over his or her films are so great that he or she may be regarded as their author, and whose films may be regarded collectively as a body of work sharing common themes or techniques and expressing an individual style or vision

21. Auteur theory: recap Defending film as an art form Focus on mise-en-scène The politique des auteurs Identifying auteur signature Director as main creative force Auteur theory

22. Other important factors to remember Francois Truffaut ‘UneCertaineTendance du Cinema Francais’ (1954) Mise-en-scene (crucial to reading film) Set design (props & décor) Lighting (& shadow) Acting (movement & gesture) Costume and make-up Personal filmmaking Andrew Sarris ‘Notes on the Auteur Theory’ (1962) 3 circles: technique, personal style, interior meaning

23. Identifying an auteur director • Biographical details • Themes present in work (usually recurring themes) • Aesthetics (mise-en-scene, cinematography…) • Production (What budgets can they secure? Use same cast and crew? Style dependent on others?)

24. Auteur Theory as a critical approach • Director as auteur allows cinema to claim artistic & academic legitimacy. Film seen as important as other art forms • Academics & critics – champion director. Easier to attribute responsibility to sole individual. Using dir. As shorthand is norm and promotes Auteur Theory • Is key to cultural capital of fan communities, film buffs, journalists & academics who publish on this topic. • Promotion of director to audiences • Marketing tool – extras with dir. Commentaries etc…

25. Problematizing the auteur • Film is collaborative process? • Crew’s input ignored when applying theory • Emphasis on personal & unique vision • Should others be given auteur title? Actor? Cinematographer? Writer? Composer? • Roland Barthes ‘Death of the Author’ (1968): Gave preference to reader. Reader who gave text meaning.