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A Companion to Film Theory

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A Companion to Film Theory A Companion to Film Theory Edited by Toby Miller and Robert Stam A Companion to Film Theory Blackwell Companions in Cultural Studies Advisory editor: David Theo Goldberg, University of California, Irvirie This series aims to provide theoretically ambitious but accessible volumes devoted to the major fields and subfields within cultural studies, whether as single disciplines (film studies) inspired and reconfigured by interventionist cultural studies approaches, or from broad interdisciplinary and multidisciplinary perspectives (gender studies, race and ethnic studies, postcolonial studies). Each volume sets out to ground and orientate the student through a broad range of specially commissioned articles and also to provide the more experienced scholar and teacher with a convenient and comprehensive overview of the latest trends and critical directions. An overarching Coinpanion to Culturd Studies will map the territory as a whole. 1. A Companion to Film Theory Edited by Toby Miller arid Robert Stanz 2. A Companion to Postcolonial Studies Edited by Henry Scliwarz and Sarigeeta Ray 3. A Companion to Cultural Studies Edited by Toby Miller 4. A Companion to Racial and Ethnic Studies Edited by David Tho Goldberg and John Solonzos 5. A Companion to Art Theory Edited by Paul Smith arid Carolyn Wilde 6. A Companion to Media Studies Edited by Aizgharad Valdivia Forthcoming: A Companion to North American Indian Studies Edited by Ward Cliurchill A Companion to Gender Studies Edited by Philorizena Essed, Audrvy Kobayaslii, and David Theo Goldberg A Companion to Television Studies Edited by Janet Waslco A Companion to African American Studies Edited by Lewis Gordon and Jane Anna Gordon A Companion to Third Cinema Edited by Teshonie Gabriel A Companioii to Literature and Film Edited by Robert Stain arid Alessandra Raengo A Companion to American Studies Edited by John Carlos Rowe A Companion to Museum Studies Edited by Sharon Macdonald A Companion to Lesbian, Gay, Bisexual, Transgender, and Queer Studies Edited by George Haggerty and Molly McGarvy A Companion to Film Theory Edited by Toby Miller and Robert Stam ©ȱ1999,ȱ2004ȱbyȱBlackwellȱPublishingȱLtdȱ exceptȱforȱeditorialȱmaterialȱandȱorganizationȱ©ȱ1999,ȱ2004ȱbyȱTobyȱMillerȱandȱRobertȱStamȱ Chapterȱ11ȱ©ȱ1999,ȱ2004ȱbyȱDavidȱE.ȱJamesȱ ȱ BLACKWELLȱPUBLISHINGȱ 350ȱMainȱStreet,ȱMalden,ȱMAȱ02148Ȭ5020,ȱUSAȱ 108ȱCowleyȱRoad,ȱOxfordȱOX4ȱ1JF,ȱUKȱ 550ȱSwanstonȱStreet,ȱCarlton,ȱVictoriaȱ3053,ȱAustraliaȱ ȱ Allȱrightsȱreserved.ȱNoȱpartȱofȱthisȱpublicationȱmayȱbeȱreproduced,ȱstoredȱinȱaȱretrievalȱsystem,ȱȱ orȱtransmitted,ȱinȱanyȱformȱorȱbyȱanyȱmeans,ȱelectronic,ȱmechanical,ȱphotocopying,ȱrecordingȱorȱ otherwise,ȱexceptȱasȱpermittedȱbyȱtheȱUKȱCopyright,ȱDesigns,ȱandȱPatentsȱActȱ1988,ȱwithoutȱtheȱȱ priorȱpermissionȱofȱtheȱpublisher.ȱ ȱ Firstȱpublishedȱ1999ȱ Firstȱpublishedȱinȱpaperbackȱ2004ȱbyȱBlackwellȱPublishingȱLtdȱ Reprintedȱ2004ȱ ȱ LibraryȱofȱCongressȱCatalogingȬinȬPublicationȱDataȱ ȱ TheȱBlackwellȱcompanionȱtoȱfilmȱtheoryȱ/ȱeditedȱbyȱTobyȱMillerȱandȱRobertȱStam.ȱ p.ȱȱȱcm.Ȱ(Blackwellȱcompanionsȱinȱculturalȱstudies;ȱ1)ȱ Includesȱbibliographicalȱreferencesȱandȱindex.ȱ ISBNȱ0Ȭ631Ȭ20644Ȭ2ȱ(hardback);ȱISBNȱ0Ȭ631Ȭ20645Ȭ0ȱ(paperback)ȱ 1.ȱMotionȱpictures.ȱȱȱ2.ȱMotionȱpicturesȰSocialȱaspects.ȱ I.ȱMiller,ȱToby.ȱȱȱII.ȱStam,ȱRobert,ȱ1941–ȱ.ȱȱȱIII.ȱSeries.ȱ PN1995.B495ȱȱȱȱ1999ȱ 791.43ȝ01Ȱdc21ȱȱȱȱȱȱȱȱȱȱȱ99–20206ȱȱȱȱȱȱȱȱȱȱȱȱCIPȱ ȱ AȱcatalogueȱrecordȱforȱthisȱtitleȱisȱavailableȱfromȱtheȱBritishȱLibrary.ȱ ȱ Setȱinȱ11ȱonȱ13ptȱEhrhardtȱ byȱKolamȱInformationȱServicesȱPvtȱLtd,ȱPondicherry,ȱIndiaȱ PrintedȱandȱboundȱinȱtheȱUnitedȱKingdomȱ ȱȱȱȱȱȱȱȱby MPG Books Ltd, Bodmin, Cornwall ȱ Theȱpublisher’sȱpolicyȱisȱtoȱuseȱpermanentȱpaperȱfromȱmillsȱthatȱoperateȱaȱsustainableȱforestryȱpolicy,ȱ andȱwhichȱhasȱbeenȱmanufacturedȱfromȱpulpȱprocessedȱusingȱacidȬfreeȱandȱelementaryȱchlorineȬfreeȱ practices.ȱFurthermore,ȱtheȱpublisherȱensuresȱthatȱtheȱtextȱpaperȱandȱcoverȱboardȱusedȱhaveȱmetȱ acceptableȱenvironmentalȱaccreditationȱstandards. ȱ Forȱfurtherȱinformationȱonȱ BlackwellȱPublishing,ȱvisitȱourȱwebsite:ȱ http://www.blackwellpublishing.comȱ ȱ ȱ Contents 1 Introduction 1 Toby Miller 2 Authorship 9 James Naremore 3 Genre 25 Sarah Berry-Flint 4 Enunciation and Narration 45 Andre Gaudreault and FrancËois Jost 5 Film Editing64 Lucy Fischer 6 Film Semiotics 84 Warren Buckland 7 Cognitivism 105 Gregory Currie 8 Psychoanalytic Film Theory 123 Richard Allen 9 Spectatorship and Subjectivity 146 E. Deidre Pribram 10 Laura Mulvey Meets Catherine Tramell Meets the She-Man: Counter-History, Reclamation, and Incongruity in Lesbian, Gay, and Queer Film and Media Criticism 165 Julia Erhart 11 Is There Class in this Text?: The Repression of Class in Film and Cultural Studies 182 David James v Contents 12 Culture Industries 202 Douglas Kellner 13 The Political Economy of Film 221 Janet Wasko 14 The Work of Theory in the Age of Digital Transformation 234 Henry Jenkins 15 Cultural Exchange 262 Tom O'Regan 16 Shooting Back: From Ethnographic Film to Indigenous Production/ Ethnography of Media 295 Faye Ginsburg 17 Psycho 's Bad Timing : The Sensual Obsessions of Film Theory 323 Toby Miller 18 Historical Allegory 333 Ismail Xavier 19 Every Picture Tells a Story: Jose Guadalupe Posada's Protocinematic Graphic Art 363 Charles RamõÂrez Berg 20 ``Historical Poetics,'' Narrative, and Interpretation 387 Ira Bhaskar Index 413 vi CHAPTER ONE Introduction Toby Miller Metz? How do you spell that? ± James Bond M . Get out, you irritating little man ± Dr Metz Diamonds Are Forever, Guy Hamilton, 1971 Signs may be analyzed, for few love them. But films are somehow delicate, like roses, and pulling the petals off a rose in order to study it is often viewed as an act of destruction. Sol Worth, StudyingVisual Communication [T]he motion picture house . is . the first enemy of King Alcohol with real power where that king has deepest hold . The people will have a shelter where they can readjust themselves . a substitute for many of the lines of pleasure in the groggery. Vachel Lindsay, The Art of the MovingPicture Going to the Cinema is part of a British book series from the 1950s that instructs readers on how to enjoy culture. It notes that film ``has to cater for millions, and to do so, must make no demands on the public . Films are easy to under- stand.'' The book undertakes to rectify this lack of demands by offering ``increased powers of perception,'' thus developing spectators' pleasure and making them more discriminating. To aid in this task, a list of ``Films everyone should see'' is included (Buchanan and Reed 1957: 13, 155±7). Such a project reiterates longstanding concerns of film theory, from the silent era's faith in ``the moving picture man as a local social force . the mere formula of [whose] activities'' keeps the public well tempered (Lindsay 1970: 243), through 1930s research into the impact of cinema on American youth via the Payne Studies (Blumer 1933; Blumer and Hauser 1933), to post-World War II concerns about Hollywood's intrication of education and entertainment and the need for counter-knowledge among the public (Powdermaker 1950: 12±15; Mayer 1946: 24). We are sometimes told today that there has been ``a general movement in approaches to film from a preoccupation with authorship (broadly defined), through a concentration upon the text and textuality, to an investigation of 1 Toby Miller audiences'' (Hollows and Jancovich 1995: 8) or a consecutive pursuit of know- ledge about film form, then realism, followed by language, and, finally, cultural politics (Braudy and Cohen 1999: xv±xvi). Such accounts approximate the history of some humanities-based academic work, but forget the hardy perennials of cinema criticism, social-science technique, and cultural policy: textual analysis of films; identification of directors with movies; and studies of the audience through psychology and psychoanalysis (Worth 1981: 39). The twin tasks of elevation identified in Going to the Cinema ± addressing spectators and examining texts ± have always informed film theory (Manvell 1950). The relevant dilemmas were echoed and elaborated by reviewer Andrew Sarris's 1960s search for ``dedicated moviegoers in the reading public'' capable of engaging the ``adven- turous speculations'' of his pantheon of titles (1968: 17) and scholar Christian Metz's mid-1970s dictum ± ``[a] film is difficult to explain because it is easy to understand'' (1974: 69). To repeat, the tasks of elevation address audiences and textual ranking. Over time, they branch out and converge. Audience concerns include psychological, sociological, educational, consumer, criminological, and political promises and anxieties. Textual ranking involves authorship, genre, form, style, and represen- tational politics. They cross over in the area of mimesis, with audiences inter- preting films against their own worlds of race, gender, class, region, age, religion, language, politics, and nation. The question of pleasure has been central, as analysts have sought to account for and resist narrative stereotypes and explain ``why socialists and feminists liked things they thought they ought not to'' (Dyer 1992: 4). This difficulty over pleasure accounts for film theory being highly critical of prevailing cultural politics but never reifying itself into the puritanism or orthodoxy alleged by critics of political correctness. The extraordinary diversity of latter-day film anthologies makes this point clear. A feminist film anthology certainly focusses on issues of representation and production that are shared by many
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