Film Theory 341W Blog Journal (Week 10)

Jean-Baudry’s apparatus theory seemingly deprives film as an art form, referring to it as a psychoanalytical study. Baudry dismisses the films narrative, and exclusively targets the nature of the viewer in relation to the film on screen. Content poses as an irrelevant entity to Braudry. He perceives the viewer as a “passive observer.” This meaning, the viewer is more of a “subject” than a moviegoer. A film viewer must see a film in his/her perspective; rather, the viewer “will” see the film through their own distinct perspective.

Braudy has varying opinions regarding the “role of the spectator,” few (if none) that I happen to agree with. He defines “watching a movie” as a psychological experience, rather than a means of enjoyment. Well, not entirely. He more often than not will allude to the “sub-conscious” as an immensely intrinsic factor in the motion picture viewing experience.

I happen to disagree with the psychoanalytical facets of Film Theory. I choose not to fall into the trap of dissecting every monotonous psychological detail, in an attempt to evade the explicit subject at hand, the film.  The plot, narrative, cinematography, and all other film related necessities, should be the focal point of all film theorist’s discussions.

I’m not exclusively perturbed by Baudry’s views on “The role of the spectator,” it’s the whole general notion that frustrates me. Theories regarding, Auteurism, Genre, Stars, and all other theories pertaining to the realistic aspects of film, seem to agree with me. Their content may infuriate me at times, but I have the ability to observe them as plausible ideas. I don’t see myself as a ”passive spectator,” as Baudry claims, although I do think about what is transpiring in the plot of the film I am screening. Psychological components do come into play when discussing film, but to abuse this rather loosely defined conception, can seem unnecessary at times.

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