Film Theory 341W Blog journal (Week 1)

David Weddle expresses nothing but the truth regarding Film Theory in his article Lights, Camera, Action. Marxism, Semiotics, Narratology. The study of film should not consist of constant psychological tension and intellectual narcissism. Rather film study should be about the beauty of the characters, plot, and direction. The correlation between a film and culture should also play a vital role in film study. The use of baffling terminology as a replacement to what is already understood by many students of film in order to demonstrate intelligence is quite preposterous. Weddle states in his article that timeless cinematic terms such as ‘story’ and ‘plot’ have been replaced by ‘fabula’ and ‘syuzhet.’ It is almost as if Film Theory has surged as its own subject matter altogether. As if Film study has been divided into two categories, “Film” and “Film theory”.

“Going to the movies” can be categorized into multiple view points. Am I taking pleasure in a night out with my friends by enjoying fine cinema, or am I entrancing my sub-conscious into a vivid faux-reality. Well, my years of watching and studying the cinema would tell me its a time to strain my mind intellectually, like reading a book or studying fine art, while still mustering up some enjoyment.  Film theory would title my time at the movies as something completely different. Most likely a word Ive never heard before. This doesn’t necessarily mean I don’t take interest and merit into the insight of Film Theory. I, like Dvid Weddle, believe that Film theory does make some very valid points regarding cinema, but the way the points are made can be immensely infuriating, and surely succeeds at the undermining of my intelligence.

One of my concerns regarding my intellectual voyage into the vast realms of  Film Theory is the new terminology I will undoubtedly encounter. The countless psychoanalytic theories are most certainly going to make me lose some sleep. I want to look deeper into the infinite world of film, and Film Theory can achieve that goal for me.

The Auteur Theory is a relatively interesting outlook on film production to me. I admire Screenwriters and Directors, as to who deserves more credit, I do not know. Directors mold a script into a “masterpiece.” If William Shakespeares ‘Romeo and Juliet’ was made into an utter work of pure genius on film, is it the director or the initial writer who should be credited for the films success? Does the same apply to adaptations molded into screenplays? I will learn all of this and more throughout my time in this Film Theory course.

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