film as a dialogue interpreting cinema
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Film as a Dialogue Interpreting cinema. Marc Adang en Gerwin van der Pol. Film as a Dialogue Interpreting cinema. Introduction. What does it mean to watch a film?. Difference between ‘ordinary’ filmviewing, and what a researcher does. The ordinary filmviewer understands and interprets, - PowerPoint PPT PresentationTRANSCRIPT
Film as a DialogueInterpreting cinema
Marc Adang en Gerwin van der Pol
Film as a Dialogue Interpreting cinema
Introduction
What does it mean to watch a film? Difference between ‘ordinary’ filmviewing, and what a
researcher does. The ordinary filmviewer understands and interprets, The researcher does the same, but does it
systematically, and reflects on the whole process
Film interpretation= to analyse + to signify Film interpretation = also, a lengthy process of asking
questions, search for answers, and testing conclusions
Dialogue with theory Theories can offer models to gain insight in
a facet of the film. The same theory, applied to different films,
results in different answers. Different theories, applied to the same film,
can lead to the same insight. Every method, theory or model can be
applied on a film, but that doesn’t necessarily mean that every theory is equally useful.
Film as a dialogue
Preface A. Introduction
1. A film is a dialogue B. Filminterpretation
I. Preliminary orientation 2. Acquaintance with the film 3. Asking questions
II. Time and space 4. Time 5. Space
III. Characters, Relations, development 6. Characters 7. Relations 8. Development
IV. Interpretation 9.Interpretation
C. References
Film as a Dialogue Interpreting cinema
Part A.A film is a Dialogue
A film is a dialogue
The same film is different: Before During After
Understanding takes place on three different levels: Diegesis Film Reception
Film as a dialogue
Preface A. Introduction
1. A film is a dialogue B. Filminterpretation
I. Preliminary orientation 2. Acquaintance with the film 3. Asking questions
II. Time and space 4. Time 5. Space
III. Characters, relations, development 6. Characters 7. Relations 8. Development
IV. Interpretation 9.Interpretation
C. References
Acquaintance with the film
First, pre-systematic analysis Constant adjustments, corrections and
additions during the course of studying the film.
Chart of scenes Synopsis Characterization of the film
Chart of scenes Comparable to a chart of scenes in
drama But now made by the researcher
Not a complete text More non-verbal information +
Indices Spreadsheet, 11 columns
Chart of scene/spreadsheet1. concrete information
Scène numeration and time code Who? (descriptive) Where? (descriptive) What? (descriptive)
Chart of scenes/spreadsheet2. interpretation
segmentation
Indices and problems of time Indices and problems of space Indices and problems of characters Indices and problems of relations Indices and problems of development
Indices and problems of themes
Synopsis
Characterization
First attempt to characterize the film First basis for further observations
Characterize: fictionality
Fake/implausible
DidacticFantasizing(Fabulating)
True/plausible
The plastic bag
http://www.youtube.com/watch?v=GLgh9h2ePYw&playnext=1&list=PLE2D698ED898D95E7
Characterize: fictionality
Fake/implausible
DidacticFantasizing(Fabulating)
True/plausible
Nonfiction
Fiction
Characterize: genre
Characterize: style Style is content
Characterize: Style
Realism
Expressionism
Classicism
Characterize: ambition level
Social/ cultural
Conventional
Complex/ modernizing
Critical/exploring/personal
Conforming to the system
film
ic
Characterize: context Filmmakers:
Director Producer Most important crew members Actors
Production and distribution Historical/ geographical
3. Asking the right question Questions on the level of diegesis
Perception Semiotics
Questions on the level of the film Function of filmic means Understanding how the film cues the spectator to
understand the diegesis in a certain way Questions on the level of the reception
What are effects on the spectator? How does he understand the film? What kind of emotions are evoked? In what kind of aesthetic judgment does the film
result? in what kind of moral judgment does the film result?
Film as a dialogue
Preface A. Introduction
1. A film is a dialogue B. Filminterpretation
I. Preliminary orientation 2. Acquaintance with the film 3. Asking questions
II. Time and space 4. Time 5. Space
III. Characters, Relations, development 6. Characters 7. Relations 8. Development
IV. Interpretation 9.Interpretation
C. References
Time
Time in the diegesis Space of time Situating
Space of time of the film Diegetic time compared to film time segmentation
Interpreting time
Space
Diegetic space: Construction meaning
De filmic space construction Meaning
The relation between diegetic and filmic space
Interpretation of space
Film as a dialogue
Preface A. Introduction
1. A film is a dialogue B. Filminterpretation
I. Preliminary orientation 2. Acquaintance with the film 3. Asking questions
II. Time and space 4. Time 5. Space
III. Characters, Relations, development 6. Characters 7. Relations 8. Development
IV. Interpretation 9.Interpretation
C. References
7.characters 8.Relations 9.Development
Diegesis appearancePsychologicsocial
Emotional relationsSocial relations
- deeds- acts- evolutions- events
Film ConstructionDesignStructure of engagement
constructionSemantic charactersStructure of engagement
Construction and design
Reception Empathy, judgment Taking sides in relationsJudgments on relations
Judgments about acts, empathy with certain characters.Judgment about certain choices from the filmmaker, empathy with filmmaker
Film as a dialogue
Preface A. Introduction
1. A film is a dialogue B. Filminterpretation
I. Preliminary orientation 2. Acquaintance with the film 3. Asking questions
II. Time and space 4. Time 5. Space
III. Characters, Relations, development 6. Characters 7. Relations 8. Development
IV. Interpretation 9.Interpretation
C. References
Final interpretation
Thematic analysis Using indices as starting point
Characterization Retaking the earlier characterization
and now drawing clearer conclusions
Characterize: context and position
Filmmakers: Position within their own oeuvre
Historical, geographical Influences Position within political debate Position within film history
Nachleben Changes in meaning of the film