INTRODUCTION TO FILM

FILM LITERACY
and CRITICISM
Main Topic 1
Subtopics: What film is, Why, and how to
study films
Lesson Objectives:

By the end of this lesson, students will be able to...

• understand how film and moving image ‘texts’ make meaning, encourage
them to watch films from a variety of sources, and inspire them to create films
of their own.

• be culturally literate – to be able to ‘read’ the films and moving image texts
they see every day and ‘write’ their own for others to watch too.

• articulate why the film is studied through different aspects or perspectives

and its relationship to the bigger context of culture.
WHY IS FILM STUDIED?
1. Film as a communication medium
(to inform, to entertain, to educate).
2. Film as Art Form (as self-expression).
3. Film as a form of popular culture (a
means to understand the depths of
the human heart and society in
general).
 BASIC DEFINITIONS

FILM LITERACY CRITICISM

media, industrial art, how to talk about analysis, framework

auratic film, informed

understanding and
learning
The properties of Film include
the following.

• Color – pigmentation of objects

• Sharpness – degree of focus or clarity
• Tint – gradation of colors
• Brightness – intensity or dullness of color
• Value – degree of lightness or darkness
of color
• Intensity - loudness or softness of sound
• Pitch – degree of rising and falling
• Timbre – distinguishing quality that
sound produces
 Film literacy is the the level of understanding of a
film, the ability to be conscious and curious in the
choice of films; the competence to critically watch a
film and to analyse its content, cinematography and
technical aspects; and the ability to manipulate its
language and technical resources in creating moving
image production.
EUROPEAN COMMISSION ON FILM EDUCATION
WHAT IS FILM LITERACY?
Film Literacy is the act of arguing knowledge and values through movies. Literacy
in film is being able to read audio visual symbols; being film literate is being able
to use film for personal and social development (instead of being used or
manipulated by media). Film Literacy enables a student to know how film
produces an imaginary world because film’s symbolic signs are produced to MEAN
something. Through this effort of producing meaning that FILM becomes a form of
communication.
WHAT IS FILM CRITICISM?
Film criticism is the study, interpretation, and evaluation of a film and its place in
cinema history. Film criticism usually offers interpretation of its meaning, analysis
of its structure and style, judgement of its worth by comparison with other films,
and an estimation of its likely effect on viewers.
 ASPECTS OF FILM STUDIES

Traditional
Filmmaking

FILM AS ART
FILM AS IDEOLOGY
FILM AS TECHNOLOGY
FILM AS COMMODITY
FILM AS ENTERTAINMENT
FILM AS SOCIAL PRACTICE
FILM AS DREAM MACHINE
FILM AS ART
The cohesion of formal elements of the
film: script, mise en scene, cinematography,
sound, editing, direction, acting, production
design

FILM AS ART
MISE EN SCENE
Cinematography
Sound
Editing
Direction
Acting
Production design
Script as foundational unit
FILM AS ART

Art as sublime - relief from the everyday

mundane-ness
National Cinema
Indie film movement

FILM AS IDEOLOGY

Partisanship of values and practices

Race, class, gender and sexuality
(American) white middle-class middle-
age "Republican" = conservative
ideology

FILM AS TECHNOLOGY

Celluloid to digital
Division of labor in film production vs.
Auteur
Technology of reception
Technology of perception

FILM AS COMMODITY

Film theorists Comolli and Narboni point

out that film is a commodity “possessing
exchange value,” but which “as a result of
being a material product of the system, it is
also an ideological product of the system.”
This is the two-fold aspect of the film.

FILM AS COMMODITY
Market-driven:
for profit
Studio system (media conglomerates )
vs. indie movements/filmmakers
Hollywood as global leader vs. art film
festival market.
Regulation of market: censorship,
taxation, profit-sharing

FILM AS COMMODITY
Least common
denominator films.
As content: tv, cable, interfacing of
technology ( cell phone tv, cable
internet )
Commodity - magical transformation of
a product devoid of labor

FILM AS COMMODITY

Formation of accessory commodities:

fan, magazines, tv shows, star studios,
beauty and relaxation industries.
Commodification - stars, fans
moviegoers, audiences, niche markets

FILM AS COMMODITY

editors,
The stars, directors,
cinematographers, and viewers are SEEN
AS A COMMODITY. THEY DETERMINE
THROUGH MARKET RESEARCH WHICH
FILM WILL EARN.

FILM AS ENTERTAINMENT

Most people watch film to be entertained

not to confused/disturbed that's most
people don't like watching documentaries.

FILM AS ENTERTAINMENT

does not escape
Emotive level, relief
from reality.
Genres and expectations.
Star system
Three-act narrative structure
Multi-media: print, internet, broadcast,
film, portable technologies.
FILM AS ENTERTAINMENT
The Best Form of Entertainment

Accessible Anywhere
Inexpensive
Touching
Something For Everyone
Excite Your Imagination
FILM AS SOCIAL PRACTICE

My first time..." socialization of children

into leisure mode
Stand-alone theaters to cinema
complexes in top levels of malls -
consumerist culture - food counter (
instant gratification *sweet and salty
food )
FILM AS SOCIAL PRACTICE

Things done aside from the viewing in

movie house - fans and other
subcultures.
At present, from popular to middle-class
leisure.
FILM AS DREAM MACHINE
Dreamwork

Relief from reality

Laboring while moviegoing
Fabrication of global cosmopolitanism.
McDonaldization
The ideal of a global (middle-class)
citizenry
Thank you!

Prepared by:

Ely Falible