Analyzing Film 2
Analyzing Film
ENG 225: Introduction to Film
June 7, 2010
Abstract “To evaluate a film as art requires knowing the purpose of a film, and then judging how well the basic elements of the film work together to achieve that end” (Durante, 2006). To become truly “cineliterate” (Boggs & Petrie, 2008, p. 5), one must be totally absorbed in the film but also impartial and indifferent. The thematic, fictional, and dramatic elements, visual design, cinematography and special visual effects, editing, color, sound effects and dialogue, acting, and direction are all important components in the making of a film. In this paper, I will clarify by what means to analyze a film, reveal according to what we find and interpret the meaning in movies, and clarify my personal criteria for the evaluation of movies.
Analyzing Film
“The properties that make film the most powerful and realistic of the arts also make analysis challenging” (Boggs & Petrie, 2008, p. 5). The viewer’s reaction of the image, sound, and movement on the screen must be receptive in reaction to concurrent and uninterrupted interaction. A film tells the viewer that a certain issue, event, emotion or principle is worth thinking about and perhaps fighting for. The theme distinguishes the style of the film. All aspects of the film must work together to articulate the theme. The viewer should be able to analyze the contributions to its theme by secondary plots, twists of plot, recollections of the past, use of body language, conversations, costumes, and each camera position. Nothing should be incomprehensible or useless nor should it be baffling unless perplexity is necessary for plot development (Boggs & Petrie, p. 5).
Film analysis is an assessment of how all the essentials in a film unite to divulge the theme. The viewer should watch the film more than once to gain a more insightful knowledge. The film should be watched the first time for initial impressions of the plot, mood, and theme. It should be
ENG 225: Introduction to Film
June 7, 2010
Abstract “To evaluate a film as art requires knowing the purpose of a film, and then judging how well the basic elements of the film work together to achieve that end” (Durante, 2006). To become truly “cineliterate” (Boggs & Petrie, 2008, p. 5), one must be totally absorbed in the film but also impartial and indifferent. The thematic, fictional, and dramatic elements, visual design, cinematography and special visual effects, editing, color, sound effects and dialogue, acting, and direction are all important components in the making of a film. In this paper, I will clarify by what means to analyze a film, reveal according to what we find and interpret the meaning in movies, and clarify my personal criteria for the evaluation of movies.
Analyzing Film
“The properties that make film the most powerful and realistic of the arts also make analysis challenging” (Boggs & Petrie, 2008, p. 5). The viewer’s reaction of the image, sound, and movement on the screen must be receptive in reaction to concurrent and uninterrupted interaction. A film tells the viewer that a certain issue, event, emotion or principle is worth thinking about and perhaps fighting for. The theme distinguishes the style of the film. All aspects of the film must work together to articulate the theme. The viewer should be able to analyze the contributions to its theme by secondary plots, twists of plot, recollections of the past, use of body language, conversations, costumes, and each camera position. Nothing should be incomprehensible or useless nor should it be baffling unless perplexity is necessary for plot development (Boggs & Petrie, p. 5).
Film analysis is an assessment of how all the essentials in a film unite to divulge the theme. The viewer should watch the film more than once to gain a more insightful knowledge. The film should be watched the first time for initial impressions of the plot, mood, and theme. It should be
References: Boggs, J. M., & Petrie, D. W. (2008). The art of watching films. Boston: McGraw Hill. Durante, D. (2006). Analyzing and evaluating films as works of art: Part 3 of a 3-part series. Forgotten Delights: Representational art...and more. Pollack, S. (1973). The way we were. USA: Columbia-Tristar. Shyamalan, M. (1999). The sixth sense. USA: Spyglass Entertainment.