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