Film Criticism
It is the analysis and evaluation of films, individually and collectively. In general, this can be divided into journalistic criticism that appears regularly in newspapers, and other popular, mass-media outlets and academic criticism by film scholars that is informed by film theory and published in academic journals.
SOURCE: http://www.onthemedia.org/2012/may/25/when-it-ok-spoil/transcript/
SOURCE: http://www.onthemedia.org/2012/may/25/when-it-ok-spoil/transcript/
Film Theories
FEMINIST THEORY
is theoretical film criticism derived from feministpolitics and feminist theory. Feminists have many approaches to cinemaanalysis, regarding the film elements analysed and their theoretical underpinnings. On this view, human subjects are formed through complex significatory processes,including cinema; traditional Hollywood cinema's "classic realist texts" are purveyors of bourgeois ideology. Added to this theory by Laura Mulvey's now-classic essay, "Visual Pleasure and Narrative Cinema," was the feminist claim that men and women are differentially positioned by cinema: men as subjects identifying with agents who drive the film's narrative forward, women as objects for masculine desire and fetishistic gazing.
SOURCES:
http://www.uh.edu/~cfreelan/courses/femfilm.html
http://www.princeton.edu/Feminist_film_theory.html
is theoretical film criticism derived from feministpolitics and feminist theory. Feminists have many approaches to cinemaanalysis, regarding the film elements analysed and their theoretical underpinnings. On this view, human subjects are formed through complex significatory processes,including cinema; traditional Hollywood cinema's "classic realist texts" are purveyors of bourgeois ideology. Added to this theory by Laura Mulvey's now-classic essay, "Visual Pleasure and Narrative Cinema," was the feminist claim that men and women are differentially positioned by cinema: men as subjects identifying with agents who drive the film's narrative forward, women as objects for masculine desire and fetishistic gazing.
SOURCES:
http://www.uh.edu/~cfreelan/courses/femfilm.html
http://www.princeton.edu/Feminist_film_theory.html
GENDER STUDIES
is a field of interdisciplinary study and academic field devoted to gender identity and gendered representation as central categories of analysis. This field includes women's studies (concerning women, feminism, gender, and politics), men's studies, and LGBT studies. Sometimes, gender studies is offered together with study of sexuality. It also analyzes race, ethnicity, location, nationality, and disability.
SOURCE: "Gender Studies". Whitman College.
PERFORMANCE THEORY
Through performance one can analyze the motives, achievements, and repercussions (if any) of that performance and its relationship (or lack of relationship) with film.
1. To perform means to act or to operate in some sort of context. Therefore, virtually any verb can be performed, with the exception of the ontological verbs to be, and to exist. Something that performs must exist in some way or another (concretely or abstractly). To perform is to assert existence.
2. In most cases, two fundamental units are required in the conception of performance: a performer and a spectator. Any relational action that can be deduced from these two units can be considered a performance.
3. The performer and the spectator need not to be separate entities. A performance does not require a spectator separate from the performer because the performer could potentially be a witness of his own action(s). However, a performance must be perceived in order to exist. Once perceived, the performer-audience-action trichotomy is true and therefore the performance is true.
4. A third unit is the author. The author creates or defines the performance.
5. An author can define a performance before or after the action has been accomplished.
6. The role of the spectator is to witness and not necessarily to be entertained. A performance does not need to be stimulating to the author, performer, or spectator.
SOURCE: (Andresmonzon.com, 2008)
SPECTATORSHIP THEORY
is defined as manipulating viewers awareness. For example the film “One more Chance” The girl who is begging for the love of man of her dream sadly reject her. It makes viewers cry along watching that film. The theory discuss on how the audiences or viewers engage and involve themselves on the film. The cinematic experience should be consider upon the spectators that will turn out to connection and interaction of the two.
SOURCES:
http://www.filmreference.com
http://www.case.edu
ETHNIC THEORY
This category in particular points up the inadequacies of categorization, especially in interdisciplinary work. Separating race from gender from sexuality from other modalities of difference threatens to re-marginalize them just as they are claiming their centrality to any cultural analysis.
Racial and ethnic theory have had a profound impact on all levels and kinds of humanities and social science scholarship. Thus these works should be read as at once substantive contributions to their fields, and as critiques of the inadequate theorization of race and other constructions of cultural difference.
SOURCE: http://culturalpolitics.net/cultural_theory/race
AUTEUR THEORY
is French for author. This is the theory of filmmaking in which the director is viewed as the major creative force in amotion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc. A foundation stone of the French cinematic movement known as the nouvelle vague, or New Wave, the theory of director-as-author was principally advanced in Bazin’s periodical Cahiers du cinéma (founded in 1951). Two of its theoreticians—François Truffaut and Jean-Luc Godard—later became major directors of the French New Wave.
SOURCES:
http://www.jahsonic.com/FilmTheory.html
http://global.britannica.com/EBchecked/topic/44609/auteur-theory