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A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production
A Case Study on Film Authorship by David Tregde — 5 A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production David Tregde* Media Arts and Entertainment Elon University Abstract Film authorship has been a topic of debate in film theory since the Cahiers du Cinema critics first birthed auteur theory. Andrew Sarris used this theory to categorize directors based on their level of artistic au- thorship, solidifying the idea that a director is the sole author of a film. In The Schreiber Theory, David Kipen argues that a writer is responsible for creating the world of the movie and should be considered the author of a film. However, collaborative theories, such as those proposed by Paul Sellors, provide a more practical framework for studying film authorship. Rarely are any film authorship theories compared with specific exam- ples. To compare theory to practice, this research took a two-fold approach. First, theory is explored through primary and secondary sources to give a background and understanding of the main arguments in authorship. Second, this research documents the production of two feature films (Blade Runner & The Man Who Killed Don Quixote) as case studies through analysis of in-depth documentaries. By examining these productions, this study observes theory in practice rather than studying the finished products. I. The Problem of Authorship “Authorship does matter,” says Janet Staiger, because it addresses the issue of acknowledging credit behind a motion picture (Gerstner and Staiger 27). When addressing the responsible parties for a film, it is important to know why such analysis is needed. -
Feminist Film Criticism in the 21 Century
Feminist Film Criticism in the 21st Century Shelley Cobb and Yvonne Tasker Volume 40, Issue 1, January 2016 DOI: http://dx.doi.org/10.3998/fc.13761232.0040.107 [http://dx.doi.org/10.3998/fc.13761232.0040.107] [http://creativecommons.org/licenses/by/3.0/] Twenty-five years ago, at the time of writing, Patricia Erens, in her introduction to Issues in Feminist Film Criticism, wrote that “the rise of feminist film criticism is an outgrowth of the women’s movement, which began in the United States in the late 1960s, of feminist scholarship in a variety of disciplines, and of women’s filmmaking.” [1] [#N1] Less than twenty years after the publications of Molly Haskell’s From Reverence to Rape: The Treatment of Women at the Movies and Laura Mulvey’s “Visual Pleasure and Narrative Cinema” (the fortieth anniversary of which was marked in academic and public forums in 2015), Erens is already reflecting on the history of feminist film criticism at a moment when it was on the precipice of being both challenged and expanded by the rise in gender studies and media studies. As feminist film scholars looking back on these developments from our contemporary vantage point , it seems appropriate to consider what kind of challenges feminist film criticism may now be facing. With the declining influence of cine-psychoanalysis and post-structuralist theory more generally, alongside the rise of television and media studies and the developments of gender and sexuality studies, it might seem as if feminist film criticism has been on the wane since the early 1990s. -
Cinema Studies: the Key Concepts
Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in -
Feminism and Film
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies 1998 Feminism And Film Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (1998). "Feminism And Film". Oxford Guide To Film Studies. 117-131. https://works.swarthmore.edu/fac-film-media/18 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. 13 Feminism and fiim Patricia White Feminism is among the social movements and cul inist politics and women's studies in the academy, tural-critical discourses that most definitively shaped feminist film studies has extended its analysis of gen the rise of Anglo-American film studies in the 1970s; in der in film to interrogate the representation of race, turn, film studies, a relatively young and politicized class, sexuality, and nation; encompassed media such field, provided fertile ground for feminist theory to as television and video into its paradigms; and con take root in the academy. Feminist film studies, emer tributed to the rethinking of film historiography, most ging from this juncture, has been both highly special notably in relation to consumer culture. The feminist ized in its theoretical debates on representation, interest in popular culture's relation to the socially spectatorship, and sexual difference, and broad in its disenfranchised has influenced film studies' shift cultural reach and influence. -
Psychoanalytic Film Theory and the Rules of the Game. Todd Mcgowan
Psychoanalytic Film Theory and The Rules of the Game. Todd McGowan. Bloomsbury, 2015 (179 pages). James Driscoll Todd McGowan’s Psychoanalytic Film Theory and The Rules of the Game offers a non- technical introduction to Lacanian thought and its role in current psychoanalytic film theory. His theoretical reference is the Žižekian interpretation of Jacques Lacan, which emphasises the real as a productively impossible impasse of subjectivity and the objet a as the paradoxically insubstantial cause of desire. This tendency translates into McGowan’s work as a turn away from Screen theory’s preoccupation with imaginary spectator identity towards the ways narrative films represent the necessary failures of such imaginary cohesion. We are thus offered a standard epiphanic theory of spectatorship modelled on the psychoanalytic situation: just as “the point of psychoanalysis is to bring the subject to the point where it can recognize itself in its seemingly alien unconscious desire”, film, mainly through its use of the objet a as an aural/visual blind spot within narrative enunciation, can rouse spectators to similar awakenings (McGowan 18). In the first section of the book, McGowan explains the Lacanian concepts that inform his approach and argues for their efficacy in the interpretation of film texts. In expository terms McGowan is very clear and considerate of his reader, as for example in his explanation of the difficult need-demand interaction so integral to the Lacanian conceptions of language acquisition and the constitution of desire (25–9). Moreover, McGowan’s insistence on the alien natures of both the unconscious and the desire it harbours (17–23), as well as the negativity of enjoyment (53–6), well enough represent the Lacanian orientation and its avowed commitment to the originality and continued relevance of Freudian ideas. -
Phoebe Waller-Bridge's Fleabag(S): Direct Address and Narrative Control
Journal of International Women's Studies Volume 22 Issue 2 The Post Pandemic University, Possibilities, Practices and Pedagogies: And New Writings in Feminist and Women’s Article 10 Studies—Winning and Short-listed Entries from the 2020 Feminist Studies Association’s (FSA) Annual Student Essay Competition March 2021 Phoebe Waller-Bridge’s Fleabag(s): direct address and narrative control from stage to small screen Jessica Beaumont University of Cambridge Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Beaumont, Jessica (2021). Phoebe Waller-Bridge’s Fleabag(s): direct address and narrative control from stage to small screen. Journal of International Women's Studies, 22(2), 103-119. Available at: https://vc.bridgew.edu/jiws/vol22/iss2/10 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Phoebe Waller-Bridge’s Fleabag(s): direct address and narrative control from stage to small screen By Jessica Beaumont1 Abstract This essay explores the television comedy Fleabag (BBC 2016-2019) which was adapted from a theatrical monologue and owes its mode of direct address to this dramatic past. The original one-woman show, written by and starring Phoebe Waller-Bridge, was first performed at the Edinburgh Fringe Festival in 2013, and, like the BBC Three television adaptation that followed in 2016, follows the story of a sexually promiscuous young woman, known to the audience only as ‘Fleabag,’ struggling with the death of her closest friend. -
Pasts and Futures of 1970S Film Theory
Scope: An Online Journal of Film and Television Studies Issue 20 June 2011 Pasts and Futures of 1970s Film Theory Matthew Croombs, Carleton University, Canada This article is about the emergence of 1970s film theory: its cultural and disciplinary conditions of possibility; the development of its core network of concepts and debates; its impasses; and, implicitly, the passion, or "passionate detachment" of its thought. But, like Serge Daney's notion of the historical film as defined by the space between what it says and when it says it (Daney, 2000: 57-58), this article's return to 1970s film theory is only intelligible in the context of present film studies. My analysis of political modernism is thus shaped by historiographical and theoretical currents defining the discipline now, specifically, institutional materialist histories of both film reception and film studies, and philosophical debates concerning the fate of the cinema's medium specificity in the digital age. By moving beyond the theoretical limitations of 1970s film theory—for example, its ahistoricism and its narrow definition of the "cinematic situation"—these currents have opened new dialogues between film study and other disciplines in the humanities and reinvigorated the questions of classical film theory. It is the vicissitudes of this latter accomplishment, however, that this article seeks to challenge. Given the ostensibly dramatic changes to the cinema's technological base, a significant body of recent film theory has called for the reinstitution of classical theories of filmic ontology, but often at the expense of excluding 1970s film theory and its paranoiac search for the discursive legibility behind the image. -
Screen Studies Conference 2009 Programme
Screen Studies Conference 2009 Programme FRIDAY 3 JULY 16.30-18.00 Charles Wilson Lecture Theatre OPENING PLENARY Chair: John Caughie • Annette Kuhn Screen and screen theorizing today • Mary Ann Doane Does the medium matter? 18.00-19.15 Theatre Reception for official launch of 50 th anniversary issue of Screen 19.30 Bute Hall 50 th anniversary dinner (if booked) SATURDAY 4 JULY 9.15-10.45 217a AFTER CINEMA: Cinephilia Chair: Jackie Stacey • Amelie Hastie Feminist cinephilia? Ida Lupino and ‘a little love’ • Tom Hughes Cinephilic desire in the undergrowth: second-generation cinephilia and internet file-sharing • Belén Vidal Cinephilia and the lost moment: theorizing disappearance in Arrebato /Rapture 217b SCREEN EXPERIENCE: Soundtracks Chair: Carole-Anne Tyler • Liz Greene Bringing vinyl into the digital domain: David Lynch’s sound design in Inland Empire • Carol Vernallis Audiovisual change: ‘Yes We Can’, music video and viral media in the Obama Campaign 408 SCREEN CULTURES: Theorizing Histories Chair: Sarah Street • Constance Balides Archive cinema: theorizing ‘silent’ films as heterotopias • Stan Beeler Under the radar and over the top: animation and censorship • Michael Temple Secret knowledge: reflections on and proposals for an ‘audiovisual film history’ 1/8 409 SCREEN CULTURES: Transcultures Chair: Jacqueline Maingard • Nezih Erdogan City forgotten and then remembered again: early years of cinema in Istanbul • Kirsten McAllister Temporal movements: from historical displacements to transnational flow • Miriam Ross Transculturation: -
New Queer Feminist Film/Theory
Uncommon Sensuality: New Queer Feminist Film/Theory Sophie Mayer Key terms: apparitionality, auteurepoetics, femme, lesbian minor cinema, many body eyes, performative, queerscapes, queer and trans feminism, uncommon sense Is the Lesbian Still Apparitional? We discovered who we were as we stepped into the void, the invisible, the blank screen, and named ourselves lesbian. That was the first step. There could be no semiotics if there were no sign. – Barbara Hammer.1 Writing about her film practice in the 1960s, Barbara Hammer describes “the void, the invisible, the blank screen” that preceded her work as an American queer female filmmaker. In this, Hammer intuitively prefigures Terry Castle’s 1993 literary and social history The Apparitional Lesbian, in which she captured, as if on film, the “ghost” of sexual loves between women that had been lost to visibility in history.2 Between these two moments, the work of Chantal Akerman and Ulrike Ottinger, although already exhibited in Europe, entered circuits of festival distribution in the USA; and, as Dorothy Arzner’s back catalog was recognized and reassembled, the portrait of the sound era’s first American female feature filmmaker as a butch dyke had emerged. Yet (or thus) by 1996, Cheryl Dunye could create Martha Page, a loving yet critical homage to Arzner, in her historiographic meta-fiction THE WATERMELON WOMAN. The character is a double in-joke both assuming and celebrating a knowing lesbian audience that would recognize, on the one hand, Arzner’s butch self- presentation and numerous rumored affairs with her stars; on the other, the queer anti- racist community documentary work and scholarship of Alexandra Juhasz, who plays Page. -
Women, Convergent Film Criticism, and the Cinephilia of Feminist Interruptions
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2016 Women, Convergent Film Criticism, and the Cinephilia of Feminist Interruptions Rachel L. Thibault University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Communication Technology and New Media Commons, Critical and Cultural Studies Commons, Feminist, Gender, and Sexuality Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Journalism Studies Commons, and the Other Film and Media Studies Commons Recommended Citation Thibault, Rachel L., "Women, Convergent Film Criticism, and the Cinephilia of Feminist Interruptions" (2016). Doctoral Dissertations. 809. https://doi.org/10.7275/9054133.0 https://scholarworks.umass.edu/dissertations_2/809 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. WOMEN, CONVERGENT FILM CRITICISM, AND THE CINEPHILIA OF FEMINIST INTERRUPTIONS A Dissertation Presented by RACHEL LEA THIBAULT Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfilment of the requirements of the degree of DOCTOR OF PHILOSOPHY September 2016 COMMUNICATION ©Rachel Lea Thibault 2016 All Rights Reserved Women, -
A Discussion with Malcolm Turvey on Specificity, Essence, and the “Cinematic”
A Discussion with Malcolm Turvey on Specificity, Essence, and the “Cinematic” n April 10th 2013, film scholar Malcolm Turvey joined PhD students Adam Rosadiuk and Zach Melzer in conversation to elaborate on his talk “Medium O Specificity Defended” presented at ARTHEMIS—the full length of which can be heard on the ARTHEMIS website (http://arthemis-cinema.ca/en/content/malcom- turveys-talk). In this talk Turvey aimed to distinguish “medium specificity” from “medium essentialist” claims, and to explain why some version of the specificity argument remains relevant to film theory today. The following conversation begins with a brief biography of Turvey’s academic life, and continues by positioning the differences Turvey’s talk posed in relation to the enigmatic concept of the “cinematic.” It then ends with an extended discussion on the practical issues concerning the humanities and knowledge production. WHY STUDY FILM STUDIES? Adam Rosadiuk: Could you say a little bit about your formation as an academic and as a scholar? Malcolm Turvey: I studied film as an undergraduate at the University of Kent in Britain in the late 1980s, and at that time, there were only two universities in the UK that offered a Bachelor of Arts degree in Film Studies. I got a very good education in film. The one thing, however, was that it was steeped in, broadly speaking, post-Structuralist theory, and the people who ran the program I studied in—the head of the program was Ben Brewster, who had translated Althusser in the late 1960s—had been involved with Screen in the early to mid-70s during its highly Brechtian, French Structuralist/Post- A Discussion with Malcolm Turvey on Specificity, Essence, and the “Cinematic” Z. -
A Gene Kelly: the Performing Auteur – Manifestations of the Kelly Persona
A Gene Kelly: The Performing Auteur – Manifestations of the Kelly Persona Author(s): Gillian Kelly Source: eSharp , Special Issue: Communicating Change: Representing Self and Community in a Technological World (2010), pp. 136-156 URL: http://www.gla.ac.uk/esharp ISSN: 1742-4542 Copyright in this work remains with the author. _______________________________________________________ eSharp is an international online journal for postgraduate research in the arts, humanities, social sciences and education. Based at the University of Glasgow and run by graduate students, it aims to provide a critical but supportive entry to academic publishing for emerging academics, including postgraduates and recent postdoctoral students. [email protected] eSharp Special Issue: Communicating Change Gene Kelly: The Performing Auteur – Manifestations of the Kelly Persona Gillian Kelly (University of Glasgow) This paper attempts to prove Gene Kelly, generally referred to as a movie star, as a cinematic auteur. I believe that Kelly’s auteur status is created through control, authenticity and innovations in mise-en- scène , and I will apply this hypothesis to both his on-screen and behind-the-camera personas. I will firstly give a brief overview of the auteur theory and it’s relevant in my discussion of Kelly’s persona. I will then move on to my case study of Kelly, with the remainder of the paper being split into two section - the first half dealing with his on-screen persona and the second half dedicated to his behind-the- camera persona. These sections will discuss the key signs I have attributed to Kelly's auteur status and, because these occur both on- screen and off, these two sections will mirror each other.