Unit 26: Film Studies
Unit introduction
All approaches to studying film are theoretical to a greater or lesser extent. Even casual discussion about movies often reveals a recognition of, and a cultural investment in, the auteur as the source of the film’s meaning. A theoretical approach to film simply recognises that we need to consciously apply specific ways of responding to film texts in order to make our interpretation clear, not only to others but to ourselves as well. Done properly this is not merely an exercise in regurgitating theory: the effective application of theory and the use of specific analytical tools to produce different understandings of the same texts improves our understanding, enlivens our appreciation, and, for film practitioners, informs and enhances their production activity.
Through following this unit learners will develop an understanding of a number of theoretical approaches to film and apply them to specific films. Learners will come to understand that films do not exist in a vacuum, nor do they simply appear like flowers in the spring. Rather, they are created by a range of determinants and influences which include, amongst others, the culture and politics of the country where they are produced, the finance that enables their production, the technology of film production, distribution and exhibition, and the nature and structure of the industry which produces them.
In addition, learners will explore the often complex relationship between audiences and films and will be able to understand why and how audiences watch and make sense of films in particular ways.
There are opportunities in the unit to develop and apply research techniques through the completion of a piece of practical audience research. The unit will also help to put production work done in other units into context.
All approaches to studying film are theoretical to a greater or lesser extent. Even casual discussion about movies often reveals a recognition of, and a cultural investment in, the auteur as the source of the film’s meaning. A theoretical approach to film simply recognises that we need to consciously apply specific ways of responding to film texts in order to make our interpretation clear, not only to others but to ourselves as well. Done properly this is not merely an exercise in regurgitating theory: the effective application of theory and the use of specific analytical tools to produce different understandings of the same texts improves our understanding, enlivens our appreciation, and, for film practitioners, informs and enhances their production activity.
Through following this unit learners will develop an understanding of a number of theoretical approaches to film and apply them to specific films. Learners will come to understand that films do not exist in a vacuum, nor do they simply appear like flowers in the spring. Rather, they are created by a range of determinants and influences which include, amongst others, the culture and politics of the country where they are produced, the finance that enables their production, the technology of film production, distribution and exhibition, and the nature and structure of the industry which produces them.
In addition, learners will explore the often complex relationship between audiences and films and will be able to understand why and how audiences watch and make sense of films in particular ways.
There are opportunities in the unit to develop and apply research techniques through the completion of a piece of practical audience research. The unit will also help to put production work done in other units into context.
task 1
essay title: genre analysis. 1000 words
Understand the relationship between producers and audiences
Relationship between producers and audiences: audience research; producer response to research; audience targeting; distribution; publicity and marketing, eg advertising, reviewing, chat shows, product tie-ins, premieres, awards, on line presence
Understand the relationship between audiences and films
Understand the relationship between films and their production contexts It requires an awareness that audiences and producers use a set of codes and conventions to classify films.
Production contexts: Hollywood, Bollywood, British, developing countries, international co-productions, independent
Factors influencing the relationship: financial determinants; funding bodies; quotas; tax incentives; technologies of production; distribution and exhibition; trends; genres and cycles; stars; social and political issues; regulatory issues; synergies between different films; vertical and horizontal integration
Be able to apply different analytical approaches to films
Analytical approaches: methods, eg genre analysis, content analysis, narrative analysis, reception study, fan study; film theory, eg structuralism, semiotics, auteur theory, feminism, queer theory, Marxism, psychoanalytic
Application: to extracts; to whole films; to genres
insight through identifying recurrent, significant elements (for example, in narrative, setting, iconography and character). The latter finds meaning through identifying the recognisable elements which signify the presence of a particular film ‘artist’. Both require an awareness that audiences and producers use sets of codes and conventions in order to classify films.
compare and contrast two films of the same sub genre, explaining the codes and conventions of the genre and how they have evolved over the history of the genre, possibly branching off into new sub genres. What common elements are there? what has been left behind and what has been successfully continued? how dose this genre get marketed and distributed differently to other genres? all genres have different audiences and will
evaluation
Relationship between producers and audiences: audience research; producer response to research; audience targeting; distribution; publicity and marketing, eg advertising, reviewing, chat shows, product tie-ins, premieres, awards, on line presence
Understand the relationship between audiences and films
Understand the relationship between films and their production contexts It requires an awareness that audiences and producers use a set of codes and conventions to classify films.
Production contexts: Hollywood, Bollywood, British, developing countries, international co-productions, independent
Factors influencing the relationship: financial determinants; funding bodies; quotas; tax incentives; technologies of production; distribution and exhibition; trends; genres and cycles; stars; social and political issues; regulatory issues; synergies between different films; vertical and horizontal integration
Be able to apply different analytical approaches to films
Analytical approaches: methods, eg genre analysis, content analysis, narrative analysis, reception study, fan study; film theory, eg structuralism, semiotics, auteur theory, feminism, queer theory, Marxism, psychoanalytic
Application: to extracts; to whole films; to genres
insight through identifying recurrent, significant elements (for example, in narrative, setting, iconography and character). The latter finds meaning through identifying the recognisable elements which signify the presence of a particular film ‘artist’. Both require an awareness that audiences and producers use sets of codes and conventions in order to classify films.
compare and contrast two films of the same sub genre, explaining the codes and conventions of the genre and how they have evolved over the history of the genre, possibly branching off into new sub genres. What common elements are there? what has been left behind and what has been successfully continued? how dose this genre get marketed and distributed differently to other genres? all genres have different audiences and will
evaluation
DEADLINE 3RD OCTOBER
task 2 ESSAY TITLE: auteur theory. 800 WORDS
Case study of one director using two films. Demonstrate your understanding of film by providing insight through identifying recurrent, significant elements (for example, narrative, setting, iconography and character). Auteur theory finds meaning through identifying the recognisable elements which signify the presence of a particular film 'artist'.
DEADLINE 10TH OCTOBER |
task 3 presentation. auteur theory. 5 minutes.
A 5 minute presentation of your findings in TASK 2 to include stills or clips to illustrate your points. Includes active spectatorship, fandom, preferred readings, frameworks of interpretation, intertextuality, media literacy, social networking, conditions of reception and pre and post viewing experiences.
PRESENTATION 13TH OCTOBER
task 4 essay title: old films for new. 800 words
Learners will write an illustrated 800 word piece titled 'old films for new', comparing a contemporary remake with the original version.
the article must focus on production contexts and factors influencing the context (e.g. financial determinants, technologies of production and exhibition, trends, genres, stars, social, political and regulatory issues, synergies between films, vertical and horizontal integration).
the article must focus on production contexts and factors influencing the context (e.g. financial determinants, technologies of production and exhibition, trends, genres, stars, social, political and regulatory issues, synergies between films, vertical and horizontal integration).
DEADLINE 17TH OCTOBER
deadlines were added 26th September. do the work, no excuses you are 2nd years and will soon be undergraduates.