Ruth Doughty - Understanding Film Theory

UNDERSTANDING

FILM

THEORY

UNDERSTANDING

FILM

THEORY

RUTH DOUGHTY AND CHRISTINE ETHERINGTON - WRIGHT

SECOND EDITION

Ruth Doughty and Christine Etherington-Wright 2018

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First published 2018 by

PALGRAVE

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ISBN 9781137587947 hardback

ISBN 9781137528230 paperback

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CONTENTS

ILLUSTRATIONS

Paramount Pictures

Walt Disney Pictures

Universal Pictures

Universal Pictures

Revolution Studios/Dark Horse Entertainment

Estudios Picasso

Universal Pictures

First Studio Goskino

First Studio Goskino

First Studio Goskino

Twentieth Century-Fox. Courtesy the Kobal Collection

Paramount Pictures. Courtesy the Kobal Collection

Apjac Productions/Twentieth Century-Fox

Warner Brothers

Panthon Productions

RKO Radio Productions/Mercury Productions

Dino de Laurentiis Corporation/Universal Pictures

Touchstone Pictures

The Weinstein Company

courtesy of the Huntington Art Collections, San Marino, California. Photography 2015 Fredrik Nilsen

Lucasfilm Limited

RKO Radio Productions

Acknowledgements

We would like to thank the following people for their support and advice on the second edition of this book: Nicola Cattini, Ron Cowdry, Lincoln Geraghty, Sue Harper, Demelza Kooij, Lloyd Lang-man, Keith Marley, Rachel McLean, Sallie McNamara, Lydia Papadimitriou, Deborah Shaw, Corin Willis and Sara Wolstenholme Crompton.

Once more we would like to thank the students of Portsmouth University for their lively discussions and insights. We would also like to thank the students of Liverpool John Moores University who entered the debate and added Scouse humour.

Sincere thanks for the new case studies which feature in the second edition of Understanding Film Theory which were skilfully chosen and written by the following academics: Penny Chalk, Simon Hobbs, Keith Marley and Andrew Pope.

Finally, thanks as always to our partners and families:

To Barrie Etherington-Wright for putting up with the process once again and for his continuing support and belief in me. Also to Amanda and Paul for their enthusiasm and practical support of meals when deadlines loomed.

To Andrew Barnicoat, supplier of food, wine, vigorous debate, love and support. To Rhona and John Doughty for not tempting me out every weekend now I have moved back to the North West. Lastly, to Briony Barnicoat who has been telling all her friends that mummy has been writing a book about Frozen and The Lego Movie.

The authors and publishers would like to thank the copyright holders for permission to reproduce the following copyright material:

Journey of the Hero table in .

The British Board of Classification symbols in , courtesy of the British Board of Film Classification.

(The Blue Boy by Thomas Gainsborough, 1770), courtesy of the Huntington Art Collections, San Marino, California. Photography 2015 Fredrik Nilsen.

INTRODUCTION

Theory has a bad reputation. It often sends a shudder of despair down the spine of students and academics alike. The reasons for this are because it is challenging, it is difficult, it can take time to grasp and can often leave the reader feeling inadequate and frustrated. Theory can often seem old-fashioned and stuffy and therefore it can be hard to see its modern-day relevance. The aim of this book is to try to disassociate theory from these negative connotations. It is for this reason that the book has been written. In short, our intention is to take the fear out of theory.

What is theory?

Theory is a system of trying to understand and explain things from a specific point of view. Theories develop and evolve through debate and the interchange of ideas. For example, someone comes up with an idea which they share within academic circles (through journals, books, conference papers or online forums). This creates the basis for discussion and often vehement criticism. Over time ideas are questioned and more people contribute to the field of debate. As a result, theories should be thought of as chains of ideas and responses.

Interestingly, not all approaches to reading a film text are recognized as traditional theoretical modes. This can be attributed to hierarchical bias. For example, theories that developed out of philosophy and literary criticism have a long-established history and, for that reason, they are often granted the status of theory (Formalism, Structuralism, Marxism and Psychoanalysis). Alternatively, in the 1970s a number of new approaches emerged that were concerned with looking at groups that had previously been marginalized (Feminism, Queer Theory, Race and Ethnicity). As with all new ways of thinking, modern approaches are often met with controversy. However, this can fuel intellectual discussion and in turn can lead to new ideas. For example, our chapter on Masculinity can be read as a response to Feminist readings. In addition, a further widening occurred when film scholars began to use empirical research to inform their findings (Stars, Audience Research and Reception).

This division between which theories are traditionally classed as such and which may more appropriately be classed as critical perspectives is both reductive and redundant. All approaches are methodologies that enhance our understanding and appreciation of the film text. Which approaches earn the status of theory remains a contested notion and is to a large extent subjective. Nevertheless, Film Studies is a more recent academic pursuit, and as films are a modern cultural format, innovative theoretical ideas offer new and exciting lines of study.

Why study theory?

Theory can be interesting and exciting as it enriches our understanding of filmic texts. It can provide new ways of looking at some of our favourite films. More importantly, it can help us gain a new level of appreciation for texts that we feel we know inside out. Theory encourages debate as it enables different readings of texts; it provides another degree of interpretation. It can also offer a way of making sense of a film that may at first seem inaccessible such as avant-garde, surrealist filmmaking.

Theory can be difficult to comprehend and therefore it is important to invest a little time. Complex ideas cannot be understood and appreciated in a few minutes. Some theorists have spent their entire career debating and writing about one specific area; as a result it can be an arduous task trying to extract the intention of their theses. The process of finding that hidden nugget can be overwhelming. However, when the ideas finally fall into place, the light bulb moment is exciting, generating a huge sense of achievement and satisfaction.