By Sarah Casey Benyahia
Doing movie Studies examines what it fairly capacity to review movie, encouraging the reader to query the dominant theories in addition to realizing the major ways to cinema. This booklet presents an summary of the development of movie experiences - together with its background and evolution - and examines the applying of theories to movie texts. very important questions mentioned include:
- Why does movie reports desire a canon?
- What is the connection among authorship and style theory?
- What is reveal theory?
- How will we learn a movie text?
- Why is the idea that of the spectator very important to film?
- How is movie excited by nationwide identity?
- What is intended via a ‘film industry’?
Aimed at scholars of their ultimate 12 months of secondary schooling or starting their levels, Doing movie Studies equips the reader with the instruments wanted in coming near near the research of movie.
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Additional resources for Doing Film Studies
Example text
The recognition of different types of national cinemas also continues the debate around the evaluative and elitist nature of 36 THE HISTORY OF THE CANON the canon; the ¿lms chosen to represent these national cinemas are rarely the ones watched by a mass audience in those countries. The canon today: Different types of canon In Light My Fire: The Geology and Geography of Film Canons, the ¿lm critic Adrian Martin (2001) surveys the state of canons today, arguing that there are two canons now in general use: ‘the Star Wars canon’ and ‘the [Citizen] Kane canon’.
Film studies as a subject has an unusual relationship to canon formation. This is due to the overlap in ¿lm studies of different constituencies – academics, critics, industry and audiences – all of which have inÀuenced the construction of the canon and argued over what is worthy of study. This inÀuence of nonacademic practice on canon formation once again highlights the distinctive place that ¿lm studies has in academia. It is also true that it is the nature of cinema as an industry which fuelled the need to construct a canon in the ¿rst place, to prove that cinema was an art form which could be studied, and not just a business.
The conservative nature of early genre criticism cannot accommodate the complex and ‘layered’ nature of popular ¿lm forms. Genre classi¿cation can be a historical practice, with critics labelling ¿lm types and movements in retrospect, carrying out a process of genre revisionism. One example is the identi¿cation of the ¿lm noir by French critics, a label which was not widely used until the 1970s, and was clearly not in the minds of the Hollywood producers of the 1940s and 1950s. Indeed, ¿lms such as Laura (1944) and Mildred Pierce (1945) were thought of as melodramas at the time, while other examples of the genre were originally produced as crime thrillers, social problem or gangster ¿lms among other genres.