Narrative Structure.pdf

# Understanding the purpose and audience of film criticism The purpose of film criticism and understanding one's audience are intrinsically linked, shaping how and why films are discussed, analyzed, and evaluated [7](#page=7). ### 1.1 The multifaceted purposes of writing about film Writing about film serves several key purposes, ranging from personal introspection to broader cultural commentary [2](#page=2). #### 1.1.1 Personal response and clarification One primary function is to understand and articulate personal reactions to films, exploring *why* certain movies resonate or fail to connect with an individual. This process aids in clarifying one's own film preferences and encourages critical thinking about what aspects of a film are most impactful [2](#page=2) [3](#page=3). #### 1.1.2 Informative role and engaging a wider audience Film criticism also aims to inform others, helping them develop a deeper understanding and appreciation of movies, potentially highlighting artistic elements they might otherwise overlook. When writing for an audience beyond oneself, it is crucial to consider their perspectives and interests, offering insights that enhance their viewing experience [2](#page=2) [3](#page=3). #### 1.1.3 Contextual analysis and cultural exploration A further purpose is to engage in contextual analysis, which involves comparing films, relating them to other cinematic works, and examining how films both reflect and shape culture. This can involve making broader cultural connections, discussing a film's role within its social and historical context, and analyzing its impact on both personal and societal levels. Movies are powerful agents that not only depict cultural moments but also actively influence them, acting as both reflections and contributors to existing and evolving cultural sentiments [2](#page=2) [3](#page=3) [6](#page=6). > **Tip:** Consider how different purposes might overlap. For instance, explaining your personal response to a film can simultaneously inform an audience about its artistic merit or cultural significance. ### 1.2 The critical role of audience consideration Understanding the audience is paramount in crafting effective film criticism, influencing the style, content, and depth of the analysis [4](#page=4). #### 1.2.1 Differentiating audiences Writers must differentiate between a general audience and a more specific one, such as students or fellow critics who possess a greater familiarity with film history, cinematic traditions, and technical language. Tailoring the writing style is essential, potentially shifting from comprehensive guides for a general readership to in-depth analyses for experts [48](#page=48) [49](#page=49) [4](#page=4). #### 1.2.2 Tailoring language and examples Keeping the intended audience in mind helps frame arguments and select appropriate language and examples. Writing for a particular audience can also alter the insights and interpretations offered by the critic. For example, when discussing films like *Avatar* and *The Blind Side*, a critic might choose to analyze differing thematic and stylistic elements based on whether they are addressing a general audience or film scholars [48](#page=48) [4](#page=4) [5](#page=5). > **Tip:** Always ask yourself: "Who am I writing this for?" This question will guide your vocabulary, the level of detail you provide, and the assumptions you can make about your reader's knowledge. ### 1.3 Opinion, bias, and evaluation in criticism Film criticism inherently involves subjective opinion, but this must be balanced with objective analysis and an awareness of potential biases [50](#page=50). #### 1.3.1 The integration of personal opinion Personal opinions are a fundamental part of film criticism, contributing to a critic's unique voice. These opinions often stem from the cultural, aesthetic, or thematic preferences held by the critic [50](#page=50). #### 1.3.2 Acknowledging prejudice and bias It is important for critics to acknowledge potential unconscious or conscious prejudices against certain genres, directors, or styles that can influence their reviews. Recognizing personal bias is crucial for delivering more honest and balanced critiques [51](#page=51). #### 1.3.3 Balancing subjectivity and objectivity An ideal critical review strives to balance subjective impressions with objective analysis of a film's elements, such as narrative structure, acting, stylistic choices, and thematic depth. This involves assessing elements like acting, directing, cinematography, editing, sound design, and thematic content [52](#page=52) [53](#page=53). #### 1.3.4 Evaluative criteria and context Valuable context can be added by comparing a film against others within the same genre or against the director's broader body of work. Critics often differentiate between artistic success and commercial appeal, or praise innovative storytelling while simultaneously pointing out technical flaws [53](#page=53). > **Example:** A critic might personally dislike musicals (a potential bias) but still objectively evaluate the quality of the songs, choreography, and direction in a musical film, offering a nuanced review that acknowledges both their subjective reaction and the film's merits or demerits. ### 1.4 Conclusion: Communicating convincingly Ultimately, effective film criticism hinges on understanding the audience's background and expectations. Personal opinions should be well-informed and supported by careful, evidence-based analysis, enabling critics to communicate their ideas convincingly and honestly. The diverse nature of films and their interpretations means the purpose of writing about them evolves with each unique audience and critical perspective [54](#page=54) [7](#page=7). --- # Types of writing about film This section outlines four distinct forms of writing about films: the screening report, the movie review, the theoretical essay, and the critical essay, detailing their respective purposes, audiences, and key features [8](#page=8). ### 2.1 The screening report #### 2.1.1 Definition and purpose A screening report serves as preparatory work for class discussions and exams. Its primary goal is to offer brief preparation by describing film segments and organizing notes on plot, characters, and visual style. It provides a structured framework to facilitate further exploration and understanding of films in an academic setting [10](#page=10) [12](#page=12) [8](#page=8). #### 2.1.2 Structure and goals The structure emphasizes careful organization to break down films into manageable parts. It aims to prepare students for further in-depth analysis and encourages engagement with thematic elements and technical aspects of filmmaking. The audience is primarily for class use, helping students process and discuss films critically [10](#page=10) [11](#page=11). > **Tip:** A screening report offers a foundation for deeper explorations in class discussions, organizing thoughts on essential aspects of a film’s narrative and aesthetics [11](#page=11). #### 2.1.3 Example An example of a screening report's analysis might explore "Badlands" as a road movie, examining its narrative and characters, visual style (landscapes, cinematography), and themes such as isolation and the search for identity [10](#page=10). ### 2.2 The movie review #### 2.2.1 Definition and purpose The movie review is a common type of film analysis that aims to inform a broad audience whether a movie is worth their time and money. Unlike academic writing, reviews prioritize immediate relevance and accessibility. They serve as a bridge between filmmakers and the audience, offering insights while guiding viewer expectations [14](#page=14) [18](#page=18). #### 2.2.2 Key characteristics Key characteristics include being typically brief and to the point targeting the general public, including casual viewers and film enthusiasts. The style is often informal and engaging, focusing on entertaining readers. Functionally, it provides a mix of summary and personal evaluation [15](#page=15) [46](#page=46). #### 2.2.3 Components A movie review typically includes a brief plot summary without spoilers, a personal evaluation highlighting strengths and weaknesses, and may offer contextual information on production or background [16](#page=16). #### 2.2.4 Analysis approach and variation Reviews can vary widely, from straightforward summaries to deeper analyses, with different reviewers focusing on narrative, characters, thematic depth, or visual style. A good review often uses a distinctive voice and engages readers by relating film elements to broader cultural or personal experiences [17](#page=17). > **Example:** Reviews of a film like "Badlands" can vary, with sources like The New York Times potentially emphasizing narrative and character portrayals, while others might focus on themes like youth and isolation [17](#page=17). ### 2.3 The theoretical essay #### 2.3.1 Purpose and focus A theoretical essay explores the relationship between film and larger societal or philosophical issues. It differs from reviews or critical essays by emphasizing ideas, theory, and contextual analysis rather than solely plot or stylistic critique. It aims to provide an explanatory model that illuminates complex structures of cinema and our understanding of them [20](#page=20) [25](#page=25). #### 2.3.2 Characteristics Theoretical essays address complex questions about film, reality, ideology, or narrative form, aiming to link specific films to broader intellectual discourses. They often analyze how films reflect or challenge societal values, or examine narrative structures, visual style, or thematic concerns from a philosophical or ideological perspective [21](#page=21) [22](#page=22). #### 2.3.3 Target audience This form of writing is usually intended for readers with a background in film studies, theory, or related fields, aiming to deepen their understanding of film’s cultural and political significance [23](#page=23). #### 2.3.4 Examples of theoretical analysis * **Blade Runner ** can be analyzed through the theory of **Posthumanism**, exploring themes of artificial intelligence, identity, and the moral implications of creating life [26](#page=26). * **The Shape of Water ** can be examined through **Feminist Theory**, focusing on themes of love, otherness, and the subversion of traditional gender roles [27](#page=27). * **Get Out ** engages with **Critical Race Theory**, tackling issues of racism and cultural appropriation, and discussing social constructs of race and identity [28](#page=28). * **Inception ** lends itself to analysis through **Psychoanalysis**, delving into the subconscious and complexities of dreams [29](#page=29). * **The Matrix ** can be explored through **Existentialism**, examining themes of reality, freedom, and choice [30](#page=30). * **Parasite ** offers a critique of social inequality and class dynamics, making it suitable for analysis through **Class Struggle and Marxism** [31](#page=31). * **Eternal Sunshine of the Spotless Mind ** allows for discussions on **Memory and Identity**, examining the nature of memory and its impact on identity [32](#page=32). > **Tip:** Theoretical essays use examples from films to illustrate larger theoretical points, linking specific cinematic works to broader intellectual conversations [22](#page=22). ### 2.4 The critical essay #### 2.4.1 Understanding the critical essay A critical essay provides a detailed and analytical look at specific elements of a film, often for a specialized audience. The essay's purpose is to argue a specific point about the film’s significance or artistic value, supported by evidence and critical reflection. It often explores complex themes, questions, and debates surrounding a film, and authors engage with existing criticism, defending or opposing various viewpoints [34](#page=34) [35](#page=35) [46](#page=46) [8](#page=8). #### 2.4.2 Audience and context The target audience is typically critics and scholars familiar with film history and aesthetics. Authors may assume their audience has prior experience or knowledge of film history, aesthetics, philosophy, or debates about cinema. Critical essays often situate the film within the broader societal, artistic, or historical context, providing a foundation for analysis [34](#page=34) [35](#page=35) [37](#page=37) [46](#page=46). #### 2.4.3 Critical approach vs. open-ended inquiry A critical approach involves a focused argument, supported by evidence, about the film’s artistic or cultural importance. In contrast, an open-ended inquiry encourages exploration and questioning, inviting ongoing debate and multiple interpretations [37](#page=37). #### 2.4.4 Significance of narrative, style, and performance Effective film criticism involves understanding how stylistic elements serve narrative and thematic goals. The first sixteen minutes, and indeed early sequences, are crucial in establishing tone, style, and content. Characters are interpreted in relation to their style and potential fatalistic destinies, with the film using various elements like visuals and sound to reinforce themes without overshadowing them. Acting style must match the cinematic mode, serving the story without overshadowing it. The audience’s eye should focus on characters and story, not stylistic tricks, and performers aim for sincerity within theatrical elements [39](#page=39) [40](#page=40) [41](#page=41) [42](#page=42) [45](#page=45). #### 2.4.5 Film as representation and the balance of style and substance Film uses sound, visuals, and performance to "fill" the screen, but should never confuse style with substance. Directors and actors strive for a balance, filling the film with expressive content without losing the story’s integrity. Critical acumen involves recognizing when style enhances or detracts from storytelling. A good film balances realism and theatricality; overly showy or superficial styles undermine the core narrative, aiming for a seamless integration of style and substance [43](#page=43) [44](#page=44). > **Example:** Analyzing "Badlands" critically might involve debating its artistic and thematic significance, its contemporary reception regarding style and depth, and how its critical reception has evolved over time [36](#page=36). ### 2.5 Summary table of film writing types | Film Writing Type | Purpose | Audience | Key Features | Example | | :-------------------- | :-------------------------------------------------------------------------------------- | :----------------------------------------------------------- | :-------------------------------------------------------------------------------------------------------- | :-------------------------------------------------------------------------------------------------------------------------------------------- | | Screening Report | Prepares students for class discussions and exams by organizing notes on plot, characters, and visual style. | Academic, primarily for students. | Structured organization, brief descriptions, and thematic engagement. | "Badlands" analysed for its narrative, visual style, and themes like isolation and identity. | | Movie Review | Evaluates films for a general audience, focusing on whether they are worth watching. | General public, including casual viewers and film enthusiasts. | Brief, engaging, and often informal; combines summary and personal evaluation. | Reviews of "Badlands" vary, emphasizing narrative, thematic depth, or visual style. | | Theoretical Essay | Explores philosophical or societal issues related to cinema. | Scholars, students, or critics with advanced knowledge of film theory. | Links films to broader intellectual discourses, such as ideology or narrative form. | "Blade Runner" analysed through posthumanism, exploring themes of identity and artificial intelligence. | | Critical Essay | Provides detailed analysis of specific film elements, often for a specialized audience. | Critics and scholars familiar with film history and aesthetics. | Focused arguments supported by evidence, situating films within broader societal or artistic contexts. | "Badlands" analysed for its artistic significance and thematic depth. | --- # Balancing personal opinion and objective analysis in criticism The core of effective film criticism lies in the skillful integration of personal feelings and analytical insights to offer a comprehensive and well-supported evaluation of a film [62](#page=62). ### 3.1 The role of personal opinion and taste Personal opinions and unique critical voices are fundamental components of film criticism. These opinions often stem from a critic's personal cultural, aesthetic, or thematic preferences. While personal taste can influence perceptions of a film's success or failure it is crucial for critics to acknowledge how personal biases, whether conscious or unconscious, might affect their reviews of certain genres, directors, or styles [50](#page=50) [51](#page=51) [59](#page=59). > **Tip:** Recognizing and acknowledging personal biases is a vital step towards ensuring a more honest and balanced critique [51](#page=51). ### 3.2 The necessity of objective analysis Objective analysis involves evaluating specific film elements such as narrative structure, acting, stylistic choices, and thematic depth. Critics should move beyond vague impressions and focus on concrete aspects of the film. This includes interpreting visual and thematic elements, such as how opening images establish a film's tone. The aim is to explain *why* a film works or fails, rather than simply stating whether it is good or bad [52](#page=52) [57](#page=57) [60](#page=60) [66](#page=66). #### 3.2.1 Supporting subjective views with evidence An ideal critical review achieves balance by combining subjective impressions with concrete evidence drawn directly from the film. Personal reactions and feelings, such as emotional responses or a sense of understanding the director's intention, are valid and can enrich critical interpretation. However, these subjective experiences must be substantiated with factual analysis and specific examples. For instance, feelings about a director's style or a film's narrative should be backed by critical reasoning and specific instances from the film [52](#page=52) [56](#page=56) [58](#page=58) [63](#page=63) [65](#page=65). > **Example:** Instead of saying "I didn't like the ending," a critic might analyze the narrative structure, character arcs, and thematic resolutions to explain *why* the ending felt unsatisfactory, perhaps citing specific plot points or character inconsistencies [60](#page=60). #### 3.2.2 Analyzing film elements Critics should focus on how film elements create meaning, atmosphere, and emotional impact. Analyzing the sequence of shots, for example, involves subjective judgment but should be grounded in an evaluation of its effect. A critical perspective should elucidate how visual techniques, acting choices, and thematic content contribute to the overall cinematic experience [56](#page=56) [57](#page=57) [65](#page=65). ### 3.3 Achieving balance in critical writing The degree of opinion expressed in critical writing can vary, but a balance between personal descriptions and evaluative judgments is key. Critics should use their personal opinions judiciously, ensuring they are supported by analysis rather than relying solely on subjective feelings. The goal is to integrate personal taste with informed commentary, making arguments compelling to a diverse audience [56](#page=56) [59](#page=59). #### 3.3.1 The role of "I" in criticism The use of the first person, such as phrases like "I think" or "I take," can be a powerful rhetorical tool for framing a critic's perspective. However, overuse of "I" can detract from objectivity and weaken the analysis. An effective critic employs personal viewpoint strategically to clarify their stance without overshadowing the analytical content or appearing overly biased [63](#page=63) [64](#page=64). > **Tip:** Use the first person to clearly articulate your position, but ensure the analysis and evidence remain the primary focus of your critique [64](#page=64). #### 3.3.2 Audience awareness and clarity Critics must recognize that readers will have varied experiences and perspectives. Therefore, clarity and persuasive evidence are essential for effective critique. Critics should strive to clarify whether their judgments are subjective opinions or grounded in analytical reasoning. Ultimately, effective criticism combines emotional honesty with disciplined analytical thinking, offering a richer appreciation of the art form [58](#page=58) [59](#page=59) [67](#page=67). ### 3.4 Critical reflection and context A reflective and well-supported critique transcends mere opinion, aiming to understand how personal, technical, and cultural factors interact within a film. This involves considering a film's place within history, culture, and formal cinematic strategies, as emphasized by figures like François Truffaut. The critic's role is to interpret and explain the deeper significance of a film's "performance" rather than simply judging its quality [66](#page=66) [67](#page=67). > **Example:** A critic might discuss the personal emotional impact of a scene while also analyzing the director's use of lighting and camera angles to achieve that effect, placing it within the context of genre conventions or the filmmaker's broader oeuvre [65](#page=65). --- # Style and structure in writing about movies Writing compelling film essays requires a strategic approach to preparation, argument development, language, and structure. This involves understanding how to effectively prepare, formulate a strong thesis, organize ideas through outlining, employ precise language, and meticulously revise one's work. Applying these principles ensures essays are insightful, persuasive, and stand out in film analysis [74](#page=74). ### 4.1 Foundations of film analysis writing The process of crafting a successful film essay begins with several key foundational strategies. These include focused viewing and diligent note-taking during the initial stages, followed by the selection of a clear and manageable topic. Developing a specific thesis statement and organizing the argument with a detailed outline are crucial steps in structuring the essay. Furthermore, the use of concrete language to vividly describe scenes and analyses, coupled with thorough revision and supporting research, are essential for creating persuasive and insightful analyses [74](#page=74). ### 4.2 Structuring your film essay A clear structure is paramount for a focused, logical, and engaging film essay. The process can be broken down into distinct stages [75](#page=75): * **Prewriting:** This initial phase involves gathering notes and clarifying the essay's focus. A helpful tip is to take notes during the first viewing of the film [75](#page=75). * **Thesis Selection:** The purpose here is to define a specific, workable argument. An example of a thesis could be "Kane’s Childhood: The Beginning of an Identity Crisis" [75](#page=75). * **Outlining:** This stage focuses on organizing the main points and supporting evidence. Outlines can take various forms, such as clusters, headings, or full sentences [75](#page=75). * **Drafting:** The objective is to develop ideas into coherent paragraphs. It is advisable to start drafting by constructing clear topic sentences for each paragraph [75](#page=75). * **Revision:** This critical phase involves refining the essay's logic, style, and transitions. To facilitate effective revision, it is recommended to allow time to pass between drafts [75](#page=75). ### 4.3 Choosing persuasive language The choice of words significantly impacts the persuasiveness and vividness of film analysis [76](#page=76). * **Concreteness and Vividness:** Employing concrete and vivid language helps readers visualize scenes and understand the arguments being presented [76](#page=76). * **Precision:** Avoid vague terms like "thing" or "aspect". Instead, opt for words with clear denotations that precisely convey meaning [76](#page=76). * **Connotation:** Consider the subtle implications of word choices, such as the difference between "film" and "movie," which can suggest varying levels of critical sophistication [76](#page=76). * **Tone:** Maintain a consistent and balanced tone throughout the essay, avoiding elements like sarcasm, excessive slang, or pretentiousness [76](#page=76). * **Sentence Structure:** Varying sentence structure enhances emphasis and reader engagement. Techniques such as using parallels, coordination, and subordination can achieve this [76](#page=76). ### 4.4 Building coherent paragraphs Coherent paragraphs are the building blocks of a well-structured essay, ensuring logical flow and clear communication of ideas [77](#page=77). * **Topic Sentences:** Each paragraph should begin with a clear topic sentence that unifies its content and signals the paragraph's main point [77](#page=77). * **Transitions:** Utilize transitions and conjunctions (e.g., "however," "nevertheless") to create smooth connections between ideas and paragraphs [77](#page=77). * **Support:** All points made within a paragraph must be supported by concrete details, specific examples from the film, or relevant historical facts [77](#page=77). * **Paragraph Length:** Aim for clarity by avoiding overly short or excessively long paragraphs; approximately four to five sentences per paragraph is generally effective [77](#page=77). * **Unity of Idea:** Ensure each paragraph develops a single, distinct idea, progressing from general statements to more specific points [77](#page=77). ### 4.5 Structure of an introductory paragraph An effective introductory paragraph sets the stage for the entire essay by drawing the reader in and clearly stating the essay's purpose. A typical structure includes [78](#page=78): * **Hook:** This opening element should be striking, such as a compelling fact, a relevant quote, or an insightful observation about the film or its broader context [78](#page=78). > **Example:** “In *Citizen Kane*, Orson Welles redefined the language of cinema, creating a film that continues to challenge viewers with its innovative narrative structure and visual style.” [78](#page=78). * **Context:** Following the hook, provide essential background information about the film or its significance to establish relevance [78](#page=78). > **Example:** “Released in 1941, the film explores the rise and fall of Charles Foster Kane, a media tycoon whose life is pieced together through fragmented memories.” [78](#page=78). * **Thesis Statement:** This is the most crucial part of the introduction, clearly articulating the essay's main argument or central focus [78](#page=78). > **Example:** “This essay argues that the film’s use of deep focus cinematography and non-linear storytelling reflects the complexity of memory and identity.” [78](#page=78). ### 4.6 Key characteristics of effective thesis statements A strong thesis statement is the backbone of a focused and persuasive film essay. Key characteristics include [79](#page=79): * **Clarity and Focus:** It must clearly define the essay's scope and avoid overly broad or trivial subjects [79](#page=79). * **Specificity:** Narrowing the topic allows for in-depth analysis and ensures the essay remains manageable within its scope [79](#page=79). * **Engagement:** An effective thesis should pique the reader's interest and offer a fresh or insightful perspective on the film [79](#page=79). * **Evidence-Based:** Crucially, the thesis statement must be supportable by concrete examples drawn directly from the film, such as specific scenes, sequences, or stylistic elements [79](#page=79). ### 4.7 Structure of a concluding paragraph The concluding paragraph provides a sense of closure and reinforces the essay's main points, leaving a lasting impression on the reader. Effective conclusions typically involve [80](#page=80): * **Summarise Key Ideas:** Briefly revisit the main arguments presented throughout the essay without simply repeating them verbatim [80](#page=80). > **Example:** “Thus, despite its fragmented narrative, *I'm Not There* celebrates the fluidity of identity through its innovative storytelling techniques.” [80](#page=80). * **Emphasise Broader Implications:** Highlight the significance of the analysis within a larger context, connecting the film's themes or techniques to broader cultural, artistic, or theoretical ideas [80](#page=80). > **Example:** “The film’s approach challenges traditional biopics, suggesting that identity is not fixed but constantly evolving.” [80](#page=80). * **Leave the Reader Thinking:** Conclude with a thought-provoking question, a forward-looking statement, or a connection to broader themes that encourages the reader to continue contemplating the topic [80](#page=80). > **Example:** “In this way, Haynes’s film invites us to reconsider how we define ourselves and others in an ever-changing world.” [80](#page=80). --- ## Common mistakes to avoid - Review all topics thoroughly before exams - Pay attention to formulas and key definitions - Practice with examples provided in each section - Don't memorize without understanding the underlying concepts

| Term | Definition | |------|------------| | Screening Report | A preliminary document prepared for class discussions and examinations, which briefly describes film segments and organizes notes on plot, characters, and visual style. It serves as a foundation for deeper analysis. | | Movie Review | A brief evaluation of a film intended for a general audience, primarily aimed at informing readers whether the movie is worth watching. It typically combines a plot summary with personal opinion. | | Theoretical Essay | An essay that explores the relationship between film and broader societal or philosophical issues, focusing on ideas, theory, and contextual analysis rather than solely plot or stylistic critique. It often links specific films to larger intellectual discourses. | | Critical Essay | A detailed and analytical examination of specific elements of a film, often aimed at a specialized audience. It provides a focused argument about the film’s significance or artistic value, supported by evidence and contextual background. | | Film Criticism | The analysis and evaluation of films. It encompasses various approaches, including interpreting a film's meaning, style, thematic depth, cultural significance, and artistic merit. | | Personal Response | The individual emotional and intellectual reaction a viewer has to a film, which forms a basis for understanding and conveying personal appreciation or dislike. | | Informative Role | The function of film writing that aims to help others develop their understanding and appreciation of movies, often by highlighting artistic aspects they might otherwise miss. | | Contextual Analysis | The examination of a film in relation to other films, historical periods, cultural movements, or social issues, providing a broader framework for understanding its significance. | | Cultural Reflection | The way films mirror existing cultural sentiments, values, and societal conditions, offering insights into the time and place of their creation. | | Audience Consideration | The practice of tailoring film writing based on the presumed knowledge, interests, and expectations of the intended readers, whether they are general or specialized. | | Narrative Structure | The way in which the story of a film is organized and presented, including elements like plot, chronology, point of view, and character development. | | Visual Style | The distinctive aesthetic qualities of a film, encompassing cinematography, editing, mise-en-scène, color palette, and camera work, which contribute to its overall mood and meaning. | | Ideology | A system of ideas and ideals, especially one which forms the basis of economic or political theory and policy. In film, ideology refers to the underlying beliefs or values that a film promotes or critiques. | | Psychoanalysis | A therapeutic approach originating from Sigmund Freud, concerned with uncovering the unconscious mind and its influence on behavior. In film criticism, it is used to interpret characters motivations, dream sequences, and symbolic meanings. | | Posthumanism | A philosophical and cultural movement that questions the traditional definition of humanity, particularly in light of technological advancements such as artificial intelligence and genetic engineering. | | Feminist Theory | An analytical framework that examines how gender and power relations are represented in media, focusing on themes of patriarchy, female agency, and the subversion of traditional gender roles. | | Critical Race Theory | An academic framework that examines how race and racism have shaped legal systems and societal structures, often used in film analysis to explore themes of racial inequality, discrimination, and cultural appropriation. | | Existentialism | A philosophical movement emphasizing individual existence, freedom, and choice. It suggests that humans are free and responsible for creating their own meaning in a meaningless world. | | Marxism | A socioeconomic theory advocating for a classless society where the means of production are owned communally. In film, Marxist analysis often critiques social inequality, class struggle, and capitalist structures. | | Deep Focus Cinematography | A photographic technique where all elements of the image, from the foreground to the background, are kept sharp and in clear focus simultaneously. This allows viewers to engage with multiple layers of the frame. | | Non-linear Storytelling | A narrative technique where events are presented out of chronological order, often through flashbacks, flashforwards, or fragmented sequences, challenging the viewer's perception of time and causality. | | Thesis Statement | A concise sentence that clearly articulates the main argument or focus of an essay, providing a roadmap for the reader and guiding the writer's analysis. | | Objective Analysis | The examination of film elements based on observable facts and evidence within the film, such as narrative structure, stylistic choices, and thematic content, aiming for impartiality. | | Subjectivity | The interpretation or evaluation of a film that is influenced by personal feelings, tastes, and experiences of the critic. |