Film studies
Introduction
In the present day films are indentified through movie stars which has been successful in the past, sometimes it comes to certain genres. Singing in the rain, stardom and the famous music would be narrative based on singing. Genres are making a knowing statement about Hollywood and the importance of history and the state in 1950s and shows pros and cons of Hollywood throughout.
Nowadays, the films are based on conventional classification (for example, in the TV listings magazine) "thriller", "westerns" and so on and the genre in modern society, every adult familiar with the TV, so it genre, such as "game show" and "sitcom.”Although we have numerous genre names in many media, some theorists believe that there are many genres (styles or sub styles), and we do not have a name for them (Chapman 4). There in the history of cinema film a number of experiments subjected to religious issues but the consequences that followed was not without protest, prevention, and sometimes violence. Religion still a sensitive subject and sacred to many adherents of these religions, as many people refuse any representation different from the traditional religious perspective may interpret as an abuse of their beliefs.ֽ
Genre classification as well as hierarchical classification is not a neutral and objective "process. There is no genre system any media undisputed 'Map' (the literature possible reason may be that some of the requirements a loose consensus). In addition, there is often considerable theoretical differences genre definition. A genre is ultimately an abstract concept, rather than experience, things exist in the world, "Jane Feuer (1992, 144). A theorist types can be another subtype or super type (actually by another kind of technology, style, pattern, formula or thematic sub-groups may be regarded as a) since the topic, at least it looks as defined genre, David Bordwell notes based on any topic may be any genre (cited in Chapman 87), he asked: "animation and documentary genre, or mode? It is a genre movie theater or comedy performance. If the genres were tragedy and comedy, then perhaps the tragedy would be a formula. Pass, he provides a useful film criticism in the list of categories, many of which have been given the status of a variety of genres commentator. The correlation dimension schools of thought, is a modern purpose redefined. Writing, Carolyn Miller the 'rhetorical clarity of the sound must not be concentrated in the content or form of words, but use it is to complete the action genre” (Chapman 63-99). He film shows the story of four characters for Muslim women, play their roles a single representative wearing a headscarf worn transparent gown showing her naked body, which he wrote verses from the Koran. The actor lists the stories of women personalities who have been persecuted by men, citing verses from the Koran. The film criticizes mainly treatment suffered by Muslim women by men. Film sparked uproar in the Muslim world and was the director and writer of the death threats. In addition, the effect that one-liners assassinated Muslim of Moroccan descent film's director in 2006 and the author was forced to hide for fear of prosecution.
Contemporary theorists tend to describe the genre text "family resemblance" between the concept of the (from philosopher Wittgenstein), rather than certainty (depressions 1990, 49). A genre within a single text within a genre hardly if ever has the characteristic texture of the genre. The family remembrance method involves theorists to describe the similarity between the texts within the genre. However, the family resemblance method has been criticized based on no choice, for the text is innocent ' this theory can make any text seems similar to any other. (Allen, 14-27)
Common ways of categorizing films
Although some schools based on the content of the story (war film), others are borrowed from literature (comedy, melodrama) or from other media (musical). Some performance-based (Astaire - Rogers films) or based on the budget (large), while others are based on artistic status (the art film), racial identity (film noir), (Western) or sexual orientation (Queer cinema). (Curran, 104-115)
A genre, such as "the West" analyzes it, and lists its main characteristics, is begging the question; we must first isolate the body Westerns movie. However, they can only be found from the film itself, they have been isolated based on the main characteristics of the separation. (Cited in Chapman 63-99)
Bordwell points out, "People can necessary and sufficient conditions of the debate, the absence of a mark genre way of grouping all the experts or ordinary moviegoers will find acceptable (Bordwell 1989, 147). Practitioners and the public to use their own style tags (de facto genre) put aside academic theorists, we might ask ourselves, in the end who style. "There are further problems with the definition of methods, will become apparent at the appropriate time (Allen, 14-27).
Monolithic definition of Robert Stam identified four key issues related to films, if a project is only part of a genre and generic labels (movies): Extended (breadth or narrow label); normative (have prejudices genre the criteria for membership); biologics (an essentialist genre is seen as through a standardized life cycle evolution). (Chapman 63-99)
Traditionally, especially in literature and film criticism as a "generic" text (they mean is "formulaic" text) inferior to those they contend generic framework. In fact, film theorist, often refers to the popular movie "type film" contrast "non-formula film. The elite critics reject the mass media generic novel, because they are "high art" pop culture, rather than a commercial product. Many harbor the primary author of the romantic idea of 'creative' and 'vision' emphasis on personal style and Art 'self-expression' in this tradition of artists (in any medium) as a mold to break the practice.
For Italian aesthetician Benedetti Benedetto (1866-1952), a work of art is always being unique; there can be no artistic genres. Recently, some literature and film theorists have given more attention to genre, the offset of the dominant ideology (Curran, 104-115).
Contemporary theorists tend to emphasize symbols intertextuality concept: see the importance of each text with others. Katie Wells pointed out that the genre is intertextuality concept ". John Hartley said:" We need to understand the text ' as the relationship between the properties as genre (Curran, 104-115)). Thwaites et al. set it, "the impact of each of the text it is put together by the general rules of the general rules of each text enhancement.
Working within genres
John Hartley states, "The genre thought sealers and they limit the potential of a given meaning of the text '(O'Sullivan et al, 1994, 128). Robert Hodge and Gunther Kress define genre typical form of text links all kinds of producers, consumers, theme, medium, manner and occasion ", adding that they" control the behavior of producers, text, and potential consumer expectations “(Chapman 87). Genres types can be seen as to constitute an implicit contract between writer and reader.
Advantages of generic analysis
Tony Thwaites and his colleagues note that 'genre foregrounds the influence of surrounding texts and ways of reading on our response to any one text. More specifically, it confirms sexuality and reading as functions rather than things' (Thwaites et al. 1994, 92). Genre analysis situates texts within textual and social contexts, underlining the social nature of the production and reading of texts.
Tony Thwaites and his colleagues noted that 'the surrounding text of the schools of the future and we deal with the impact of any way of reading a text. More specifically, the recognized text and reading function, rather than things (Thwaites et al, 1994, 92). Genre Analysis is located in the text within the text and social context, emphasizing the social nature of production and to read the text.
In addition to offset any tendency to treat individual text isolated from others, can also help to offset the homogenization of media, widely present in the mass media, it is very common, for example, to find assert a genre stressed on the TV "and other important considerations, such as the impact of the genre.
Positioning of text in a specific cultural context, genre analysis, can also be located from a historical perspective. It can help the author's 'creative' and creative individualism ideological confrontation romantic.
Norman Fairclough pointed out that genre analysis is good at multi-media output shows the nature of the conventional and formulaic, and reminds us that in the news media, for example, the best way to reduce the event of a huge diversity in the world is often rigid format of news "( Chapman 63-99).
Psychoanalytic film theory
Psychoanalytic film theory, despite its relatively late development, has become one of the most widely used theories of film studies. This is mainly due to born with the spirit of an era and the thin-film technology; a child grew up with facts. Therefore, as the film quickly focuses on rendering subjective experience - it depicts the characters, the innermost psychological depths - naturally drew subjective concept in the field of psychology, the psychoanalytic concept. Â great many films from the first half of the 20th century, corresponding to draw, such as the concept of psychoanalysis as the unconscious (see Keaton's Sherlock Holmes), DreamWorks (see Cavalcanti dead of night), Oedipus complex (see Hamlet), psychoanalysis itself (see Hitchcock's spellbound).
Despite the fact that so many films, openly included in the concept of psychoanalysis, film studies did not really began to study incorporated until the 1960s and 1970s. There are two reasons: first, because the film study does not really exist until this period broadly recognized disciplines; and second, because the film as an interdisciplinary research with renewed interest (mainly the spirit does not seek brought a new innovative approach to this subject in France). Therefore, even though the birth and development of the spirit of the early films coincide Film Studies as a discipline was born the same coincided with the revival of psychoanalytic theory. Historically speaking, movies and psychoanalysis have close relationships.
Excellent and good, it can be say, but how is what psychoanalytic film theory? It is a way to focus on disclosure, so that the phenomenon of cinema in general, especially the specific elements of the film is unconscious form. Who is unconscious? This is where things get a little tricky. Unconscious psychoanalytic film theory research has been attributed to four different organizations: the filmmaker, the characters of the film, the film's audience, for a given film and discourse.
- Filmmaker unconscious: In the initial stage, the psychoanalytic film theory movies such senseless dreams, slips of the tongue, nervousness symptoms. As these are considered the patient's unconscious performance, the film is considered a filmmaker subconscious performance. Psychoanalytic film theory is a bit out of fashion today.
- The Character's Unconscious. Another application of psychoanalytic film studies - one still occasionally seen today - concentrated in a to the given characteristics of the film and to analyze their behavior and dialogue, trying to explain their unconscious traces. In this way, when it first appeared, immediately attacker skeptical critic who pointed out that the fictional characters, as long as they are not true, neither conscious nor unconscious mind speak. However, the spirit of the film characters soon find a new credibility and spiritual analysis of the next stage of the development of film theory - analysis of the audience's subconscious, because it is shaping tips and movie viewing process.
- The Audience's Unconscious. Audience-centered approach often focused on the behavior of some of the characters and the dialogue can be interpreted as the performance of our subconscious mind, as long as we come to identify themselves with them, when we visit the cinema. Thus, as we are in the dark sat quietly, open up our hearts bonds, one way or another character, we do not consciously projecting our own fantasies, fears, and watching these sparkling alter ego. Whenever they inevitably say or do something, even tangential touch these fantasies, fears, or gaze, we have obtained the unconscious satisfaction or dissatisfaction (Allen, 14-27).
- The Unconscious of Cinematic Discourse. Finally, the latest version of psychoanalytic film theory more or less completely abandoned the character-centric approach, focusing instead on the form of a film copied or imitated in formal model of consciousness / unconscious mind, spirit is assumed. Thus, for example, the psychoanalytic film theorist may focus on the formal program editor sometimes function is similar to cutting a vital, passionate moments, invisible, but will continue in the resonance mechanism of repression film (such as the actual self-phase killing Mankiewicz suddenly last summer noticeably absent moment). Appearance here belongs to the unconscious is neither filmmaker, nor is it a character, nor an audience of viewers, but the film's own words. Therefore, the unconscious is conceived as an organization living in the cinema audio-visual language meaning hints and traces. (Of course, this can always unconscious to become moviegoers to allocate - The third form of the pertinent psychoanalytic film theory - the extent that he or she in the case of viewing, the internal language).
Therefore, the psychoanalytic film theory cannot control the operation of unconscious psychological mechanisms: filmmakers, people, viewers, and film discourse specific examples.
Unconscious mechanism to focus on here is fetishism. In this case, simply put, this mechanism is Freud's explanation. Fetish object (which is to say, the purchase of a specific object of sexual gratification Fetish: For example, shoes, underwear, fur coats, etc.) reverence, as if it is the penis - and not just any penis, but are specific the Fetishes mother! Of course, this sounds absurd and not a little bit of nausea. Freud clearly has some serious explanation.
Fetishism of this theory, Freud says, is a bit much to swallow - even though many of the strict Freud. This seems too hanging castration penis and text and too localized below the belt, that is. Recent psychoanalytic theory provides a more general convergence of Freud's insight. Instead of the child is feeling scared his mother apparently literal castration, it is possible, when the children see her nakedness, he felt terror both men and women. Recognizing this, biological and social separated from his mother; he took her to a different category. Since then, he will "cut off" - a purely metaphorical sense, castration. Therefore, this theory went, caught the young fetishism, fetish objects, described by Freud, in an effort to deny the difference. Later, he would consciously to accept gender differences, but unconsciously, he will still harbor the illusion of the existence of only single-sex, his mother, and all women have the potential to replace she belongs.
Conclusion
Work Cited
Allen, R and Gomery D (1985). Film History, Theory and Practice. New York: McGraw-Hill.
Bailey, M (2009). Media History, Oxon: Routledge. 14-27
Chapman J, Glancy M, and Harper S (2007). The New Film History. Basingstoke: Palgrave Macmillan, 63-99
Curran, J (2002). Media and Power. USA and Canada: Routlegde, 104-115
Curran, J and Porter, V (1983). British Cinema History. New Jersey: Barnes & Noble Books, 23-28
Chapman J, Glancy M, and Harper S (2007). The New Film History. Basingstoke: Palgrave Macmillan. P. 87.
Chapman J, Glancy M, and Harper S (2007). The New Film History. Basingstoke: Palgrave Macmillan. P. 4
