From Antz To Titanic: Reinventing Film Analysis by Martin Barker

By Martin Barker

Every body analyses motion pictures. traditional audience, chatting at the means domestic afterwards. Reviewers, telling us barely enough to tempt or do away with. Critics, ‘situating’ movies for us. Moralists, trying to find the (harmful) message. So what precisely is it that movie teachers do that’s different?Martin Barker and Thomas Austin offer a jargon-free, available and student-friendly advent to movie research. they start with a dialogue approximately viewers and an in depth case-study on 4 conflicting analyses of Capra’s It’s an excellent lifestyles. The authors study quite a number well known Hollywood motion pictures in a number of genres, together with immense, Deep influence, Sleepless in Seattle, The Lion King, Starship soldiers and the standard Suspects, and supply vibrant demonstrations of what can and can’t be accomplished with shut textual research. The booklet ends through offering a listing of measures for assessing the adequacy of movie analyses: measures meant to put the foundation of a manner of doing movie research which matches past theoretically-predetermined and sometimes obscurantist assertions.Explicitly rejecting a lot of the theoretical luggage that canines modern movie research, Barker and Austin strip the topic all the way down to its naked necessities. the result's a provocative and well timed reexamination of some of the uncomplicated tenets in movie idea and research.

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Additional resources for From Antz To Titanic: Reinventing Film Analysis

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199). There is a deep-seated paradox here in Poague’s whole approach. George does not will his brother’s accident or his father’s death. If, therefore, we posit an audience who perceive this relation between events, they have to be making a very particular kind of reading of the film. In short, they must adopt an orientation to the film whereby apparently separated events are in fact linked by ‘magic’. George says something, and the saying in some sense makes its opposite happen. To call someone a ‘scarebaby’ is in effect to jinx them, to make them so foolishly brave that they will have an accident – which is what you wanted all along.

Booth gives a telling example: ‘There was a man in the land of Uz, whose name was Job. ’ With one stroke the unknown author has given us a kind of information never obtained in real life, even about our most intimate friends. Yet it is information we must accept without question if we are going to grasp the story that is to follow. In life, if a friend confided his view that his friend was ‘perfect’ and ‘upright’, we would accept the information with qualifications imposed by our knowledge of the speaker’s character or the general fallibility of mankind.

But this is not the ‘real meaning’ of IAWL. ’ He dismisses both those who read the film ‘comfortably’ and also those who are infected with ‘fashionable theories’ of ideology and psychoanalysis; they are both incapable of reading the film properly. ’ So, ‘ordinary’ viewers tend to get it wrong, as do the fashionable intellectuals; but ‘common’ people will see the film for what it is – an impulse to go on with life, a challenge experienced through the way the film culminates. The fact that George at the end loves his life, for all its difficulties and pains, reveals the proper way to view this film.

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