PaRDeS and Film Interpretation Multiple Levels of Cinematic Meaning Vicky Johann Schinkel Submitted in total fulfilment of the requirements Of the degree of Doctor of Philosophy August 2012 School of Historical and Philosophical Studies The University of Melbourne ABSTRACT This thesis establishes the traditional Jewish interpretative model PaRDeS as the foundation of a new film interpretation method, and suggests a PaRDeS interpretative process that can be used as a guide by other analysts, critics and scholars. PaRDeS is a sophisticated method of analysis that reflects millennia of Judaic explorations of narrative structures, stories, interpretations and commentaries. Maimonides’ blending of Aristotelian and Jewish philosophy led to the development of different kinds of interpretative frameworks, including PaRDeS. PaRDeS is a map of meaning that articulates Jewish philosophy and reflects a Jewish history of emphasising the importance of interpretation. PaRDeS interpretation encourages dialogues about cinema, and the meaning of films. The PaRDeS method responds to other film analyses in its own interpretative mission to coordinate and integrate multiple levels of meaning. Using PaRDeS in this original way to interpret contemporary films is significant to both Jewish Studies and Film Studies. This thesis extends the investigations of contemporary uses of PaRDeS in Jewish Studies and introduces the method to Film Studies, responding to existing issues of film interpretation in doing so. A multi-level framework of different kinds of meaning differentiates PaRDeS from its contemporary counterparts, and from a tradition of film interpretation that narrows the scope of interpretative interest to ideological perspectives. The originality of the PaRDeS conceptualisation of film meaning, the unique assumptions of the model, and its coordination and synthesis of different interpretative strategies differentiates PaRDeS from contemporary critical perspectives. PaRDeS film interpretation develops important insights about film meaning, and describes specific ways cinema reflects the world that creates and interprets films. Since this is the first time the PaRDeS method has been used to produce formal interpretations of films, there is as yet no established process for doing so. This thesis develops a PaRDeS model of interpretation (Chapter Two) and uses it to generate new insights during the various investigations of different elements of film in the chapters that follow. PaRDeS has never been adapted for use as a modern tool of cinematic investigation before now, and this thesis is necessarily exploratory in its evolution of a new PaRDeS approach to film interpretation. The PaRDeS method is developed in various multi-level interpretations of the following films: The Matrix (Larry and Andy Wachowski, 1999), Clueless (Amy Heckerling, 1995), Josie and the Pussycats (Harry Elfont & Deborah Kaplan, 2001), Taxi Driver (Martin Scorsese, 1976), and Black Swan (Darren Aronofsky, 2010). i The new PaRDeS film interpretation method that this thesis produces is used to explore how film genre and structure (Chapter 3), critical responses (Chapter 4), cinematic expressions of theme (Chapter 5), filmmakers’ cinematic choices (Chapter 6), multi-level scene analysis (Chapter 7), film character and function (Chapter 8), film score and music (Chapter 9) can be defined, and investigated using the PaRDeS framework of multi-level meaning. Chapter 10’s exploration of the relatively novel concept of Cinematic Midrash further extends the interpretative territory of PaRDeS in its response to film as commentary, parable, and philosophical statement, as well as its response to existing interpretations (previously discussed in Chapter 4). Chapter 11 concludes that using the PaRDeS film interpretative method is a pragmatic approach to narrative structures that recognises that stories function in multiple ways to make meanings, and sometimes produce transcendent effects. Using PaRDeS to analyse films generates sets of unique questions about films, about their themes and about broader social and cultural issues that impact on interpretation. Finally, in attempting to identify the effects of interactions between different kinds of meaning, PaRDeS introduces new conceptualisations of film meaning to Film Criticism and Interpretation. ii DECLARATION This is to certify that (i) The thesis comprises only my original work towards the PhD except where indicated in the Preface. (ii) Due acknowledgement has been made in the text to all other material used. (iii) The thesis is 84 000 words in length, exclusive of tables, bibliographies, and appendices. Name: Vicky Schinkel Signature: _________________________________ Date: ______________________________________ iii ACKNOWLEDGEMENTS Thank you to Bronwyn Lea and Tom O’Regan, who first encouraged me to develop my ideas about PaRDeS in an academic forum. Thanks to Ziva Shavitsky for her wit, insight and wisdom. Thank you to Paula Winch, for her interest and insight, faith and encouragement. Many thanks also to friend and colleague Anna Hirsh, for her intellectual inspiration and to Garry Williams for practical suggestions. A special thank you to Chris Singh for keeping my spirits up, and for his practical support and encouragement. As always, thank you Jo and Hans Schinkel for your love, help and support. Thank you to my wonderful brother Peter for your understanding and insights. Finally, a very special thanks to Dvir Abramovich, for your clear thinking, kind words, encouragement and guidance. Your guidance, intellect and common sense are a continuing source of inspiration. iv TABLE OF CONTENTS Chapter 1 THESIS OVERVIEW.............................................................................. 8 Relevance, Originality & Timeliness ....................................................................... 9 Goals of the Thesis........................................................................................................... 11 Scope................................................................................................................................ 11 Why these Films? ............................................................................................................. 11 Thesis Structure ............................................................................................................... 14 Conclusion .............................................................................................................. 17 Chapter 2 PaRDeS OVERVIEW ............................................................................ 18 The PaRDeS Method of Interpretation................................................................... 19 Review of Relevant Literature................................................................................ 21 Film Interpretation in the 21st Century ................................................................... 28 PaRDeS and the Interpretation & Analysis of Cinema Meaning ........................... 31 The PaRDeS Interpretative Process ................................................................................ 32 Steps in a PaRDeS Approach to Cinema Interpretation.................................................. 35 Chapter 3 THE FILMS & EXPECTATIONS OF MEANING............................ 38 Film Synopses......................................................................................................... 39 Implications of Hollywood Narrative Structures.................................................... 45 Implications of Film Genre..................................................................................... 48 Conclusions ............................................................................................................ 57 Chapter 4 COMMON INTERPRETATIVE APPROACHES............................. 60 Critical Perspectives of Film .................................................................................. 60 Taxi Driver & Critical Perspectives of the Auteur Filmmaker........................................ 61 Black Swan & the Quest for Perfection ........................................................................... 63 Multiple Critical Perspectives of The Matrix .................................................................. 65 Clueless & Critical Links to Jane Austen’s Emma .......................................................... 68 Critical Responses to Product Placement in Josie & The Pussycats .............................. 69 A PaRDeS Response to Contemporary Interpretative Positions ............................ 71 Chapter 5 THE SIGNIFICANCE OF FILM THEMES....................................... 73 Multi-Level Cinematic Arrangements of Film Themes ......................................... 74 Taxi Driver: God’s Lonely Man ...................................................................................... 74 Black Swan: Visual Representations of Theme................................................................ 75 Negotiating Multiple Themes & The Matrix.................................................................... 77 Expressions of Theme in Clueless.................................................................................... 79 Theme vs. Content in Josie and the Pussycats................................................................. 82 Expectations of Cinema Sex............................................................................................. 84 Opening Scenes & Establishing Levels of Meaning