1. Intro to Film Analysis and Theory (but first, a brief overview of Cultural Studies)
overview of the “Introduction” from Film Analysis, edited by Jeffrey Geiger, 2005, Norton Press, NYC (with some stuff from JC thrown in here and there)

2. Standard Cultural Studies Critical Approaches
Content Analysis
Semiotics
Ideological Critique
Discourse Analysis/Theory

3. Approach: Content Analysis
Quantitative (counting!) technique measuring specific frequency of various occurrences
Produces raw data
Limited in application

4. Approach: Semiotics Sign = Signifier + Signified
Signifier = the word or speech sound (rain)
Signified = mental concept (the concept of water droplets falling from the sky)

5. Semiotics: Types of Signs
Iconic: (physically resembles what it “stands for”) Indexical: (“A” points to “B”) Symbolic: (arbitrary connection)

6. Semiotics: Levels of Signification
Denotation = Literal Meaning (1st level of signification) -- that ring is literally compressed carbon encased in platinum. Connotation = Cultural Meaning (2nd level of signification) – that ring represents love, engagement, commitment

7. Semiotics: Culture Bound
Signs are arbitrary cultural constructions
Myth = transformation of historical into natural
Meanings change

8. It’s not just a movie
Films are not simply entertainment. They are meaningful cultural and historical documents.
Film criticism isn’t simply a matter of opinion; instead, film analysis examines the narrative, thematic, and stylistic choices with the goal of deeper understanding.

9. Getting started . . .
Analysis doesn’t kill the pleasure of watching the film, it enhances the discussion.
Analysis examines assumptions and situates the film in particular historical, cultural, and aesthetic contexts.
Reading the film requires more than a surface viewing. It requires an understanding of sign systems (semiotics), including the denotation and connotation of words and images.

10. Reading a film
Consider the film a text with meaning that has obvious as well as complex and even contradictory connotations.
Films/texts have multiple meanings and interpretations
Reading between the lines to get to the layers of meaning – the more cultural, historical, and technical understanding you have, the deeper you can read.

11. Interpretation There isn’t a “true” or “right” meaning
Interpretations aren’t purely subjective and they aren’t equally valid.
Some interpretations are more relevant, enlightened, and thought out than others
Interpretation strives to provide insight and uses persuasive language and solid evidence to support it

12. Freud: Latent Content
Connotations, ideas, and beliefs that lie unnoticed within the text of a film could be seen as “subconscious” or “unconscious”
Freudian approach looks as uncovering the latent content to analyze meaning (making the implicit explicit)

13. Connotations and Ideology
Connotations and meaning are culturally and historically determined
Ideology is the broadly held cultural or social beliefs of the time (ideology in the film analysis sense is a set or system of ideas so widely accepted they are only rarely examined in a conscious way – it’s culture’s unconscious)
Ideological beliefs are “the way things are supposed to be” – and those change

14. Context is crucial
Context includes anything that has an influence or bearing on a particular film.
Films are never culturally or ideologically neutral, but are informed by their contexts.

15. Approaches to Film Analysis
First things first: Opinion is not Analysis (analysis requires that we question our own opinions and stay focused on the text/context)
Starting out: Formulate a thesis or argument that uses a particular point of interest or a particular theoretical approach to focus you
Context: Learn about (research!) the cultural and historical period

16. Types of Contexts
Production Context of a Film: the situation in which it is financed and produced (which will subject it to a range of influences and pressures)
Filmic Context: consider the film in comparison to others of its type or genre (and the critical context)
Historical and Cultural Context: what was going on at the time? What version of the world does the film give us, and why?

17. Examining Major Themes
What is the film about? (not the plot, but what are the latent meanings, the main ideas, issues and themes at an implicit level)
What are the major conflicts?
Don’t oversimplify.

18. Role of Narrative
Narrative analysis breaks the film into its narrative segments and then looks for patterns of repetition and difference (and compared to genre considerations)
Narrative analysis considers what is excluded and withheld as well as what’s included

19. Style Considerations
Style = all the elements of how the film is constructed: cinematography, editing, mise-en-scene, and sound
Stylistic analysis considers the stylistic choices and what they mean or communicate

20. Theoretical Approaches to Film
Film History: investigates the film according to their place within a historical context
National Cinemas: discuss films in terms of their cultural or national character
Genre: examines how a film organizes its story and its audience’s expectations (genre is a category for classifying films in terms of common patterns of form and content)

21. More Theoretical Approaches
Auteur Theory: identifies a movie by a director and analyzes common themes and stylistic traits of the filmmaker
Formalism: confined to the film itself and the matters of structure and style
Ideological Approach: analysis of the ideological messages of the film