1. Introduction to Film Criticism

2. How do we critically engage with Film?

3. On writing Film Criticism

4. Comparative Analysis with Literary Works

5. Film Movements, Genres, & Periods

6. Film Theories and Approaches

7. Digital Resources and Additional Readings

• a visual text

• a work of art

• an economic commodity

• a cultural artefact

• a social and aesthetic experience

• a technological achievement

• a political vehicle

• a collaboration

  
  

Film criticism is to firstly recognise a film as one or many of the above. It is then to think, feel and write about such. This includes the interpretation of the film text through its elements: such as narrative structure, performance critiques, visual and aural aesthetics, direction, etc. The nature of film criticism changes depending on the intended audience—academics, the general public, industry members—as well as the intended site of publication—scholarly journals, magazines, newspapers, and industry trade publications. Film criticism also delves into theory, requiring the peeling off of layers of meaning within the film. Through criticism, critics strive to communicate about a film’s artistic, cultural, and social significance, highlighting its broader relevance and impact.

• Academic film criticism is often written by academics in film, and would be read by researchers, students, and other academics.

• Journalistic film criticism is written by journalists and often for newspapers or magazines, and this would be dependent on the readership of that media; often the general or mainstream public.

• Curatorial film criticism is written by one who curates; this could be in the scenario of a film festival, online platforms, retrospectives, or anthologies, to name a few. The readership would also be similarly selective and niche; those interested in the specific theme of curation.

Therefore, when writing a piece of film criticism, it is important to understand deeply the context of publication and the intended audience.

• What is the film about?

• How does the film communicate its meaning?

• What, therefore, makes it important?

And therefore:

• An understanding of the film's intentions

• An interpretation of its elements

• Hence, a judgment

• https://reverseshot.org/ - a publication of Museum of the Moving Image

• https://www.rogerebert.com/ - a site started by the late and exceptionally seminal film critic Roger Ebert

• https://asianfilmarchive.org/despatches/ - Asian Film Archive, a Singaporean non-profit organisation

• https://mubi.com/en/notebook - the publication wing of curator-cum-streaming service MUBI

• https://www.criterion.com/current/posts - an online magazine by The Criterion Collection

• https://www.brightwalldarkroom.com/ - an independent website that does monthly issues surrounding particular themes

• https://www.euppublishing.com/loi/film - film-philosophy, an open-access journal that dates back over two decades

One can also check out more independent or regional sources, be it university society blogs, Substacks, or videoessays.

Formulating the Thesis:

Consider responses to the film that might not be immediately apparent. Ask yourself why this particular perspective would be compelling and encourage diverse interpretations.

Next, ensure your thesis introduces a novel insight rather than merely stating an established fact. Reflect on how your thesis connects to the broader themes and concerns of the film. Does applying a specific theoretical framework offer a fresh perspective on the film?

In developing your thesis, aim to provide a thought-provoking argument that invites readers to engage deeply with the film, considering alternative viewpoints and interpretations. It should not be absolute, but rather debatable.

Because Hirayama rarely speaks, Wenders and cowriter Takuma Takasaki embellish his world by alerting us to the subtle voices and textures that mark his time. We hear the sound of the street being swept as Hirayama’s eyes open in the morning, the clink of his coins in a vending machine to kickstart the workday, the wind through the trees as he takes his lunch in the park. Just from observing Hirayama in these environments, we feel a vicarious sense of peace. Much is left to the imagination, and the tension comes largely from our own response to the film—the way our attention is prolonged or disrupted, our expectations fulfilled or upended.

Sodomsky refers to techniques like dialogue and sound design to support his point on audience experience.

A primary source would include the film itself, the script of the film, interviews with the filmmakers or team, production notes, director's commentaries , or promotional materials. These provide direct evidence or firsthand accounts related to the film.

A secondary source would include similar and dissenting opinions or interpretations of the same film. It includes materials that analyse, interpret, or critique the film, often building upon primary sources. These sources help provide context, theoretical frameworks, and critical perspectives. By acknowledging and responding to secondary sources, an argument becomes richer and more nuanced. These include academic articles, film theories, other reviews or essays, etc.

"City of God is a hit because of the way the situation is represented – as the basis for an action film that’s set within the realm of ‘real life’ rather than the usual stylised fantasy of blood, metal and pyrotechnics."

This is a strong thesis statement for the following reasons:

• Arguability: Presents a debatable claim that can be supported or opposed, encouraging critical analysis.

• Focus: Concentrates on the film's style and narrative approach, providing a clear direction for the essay.

• Evidence of Cinematic Devices: Sets up a framework for examining cinematic elements like direction, cinematography, and music.

• Comparative Aspect: Allows for comparisons with other films that use stylised fantasies "of blood, metal and pyrotechnics"; specifying the scope of the essay.

Examples include directors like Alfred Hitchcock, Martin Scorsese, Akira Kurosawa, Wong Kar-Wai.

Films influenced by psychoanalytic theory often delve into themes of identity, repression, trauma, and the unconscious mind. For example, Alfred Hitchcock's "Vertigo" (1958) explores obsession, identity crisis, and psychological manipulation through its protagonist's unraveling psyche. David Lynch's "Mulholland Drive" (2001) employs dream logic and surreal imagery to explore themes of fractured identity and repressed desires. Stanley Kubrick's "The Shining" (1980) uses psychological horror and symbolism to depict a descent into madness and the impact of repressed trauma.

Here is an article where premier film critics list their recommendations: https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/film-book-poll/complete

Comparative essays also present how certain themes or ideas are not exclusive to one medium (like film, prose, poetry, or art, for example) but can be universal and transcendental; therefore allowing for richer comparison beyond the boundaries of medium.

1. Ensure your thesis addresses the similarities and differences in the chosen scope you are exploring within your two texts.

   1. Sample: "In comparing George Orwell's novel '1984' with Michael Radford's film adaptation, this study explores how each medium portrays dystopian society and resistance against totalitarian control. The novel delves deeply into Winston Smith's psychological rebellion, while the film uses visual symbolism to depict oppressive surveillance and societal control. This analysis examines how narrative and visual techniques in each medium shape the portrayal of themes such as oppression and individual agency."

2. Decide the structure of your essay; either alternating or block method.

   1. Alternating Method (Point-by-Point Pattern): In the alternating method, you find related points common to both subjects A and B, and alternate between discussing A and B based on these points (ABABAB…). For example, a comparative essay on J.R.R. Tolkien's novel "The Lord of the Rings" and Peter Jackson's film adaptation might examine how both portray themes of friendship, heroism, and the quest for power. You would compare how these themes are developed and presented in the novel versus the film, discussing similarities and differences in narrative techniques and character portrayal.

   2. Subject-by-Subject Pattern (Block Method - AB): In the block method, you discuss all aspects of subject A first, then all aspects of subject B. For instance, a comparative essay using this method to analyse "Pride and Prejudice" by Jane Austen and its 2005 film adaptation directed by Joe Wright would dedicate one part to discussing Austen's characterization, social commentary, and narrative style. The second part would analyse how these elements are translated and interpreted in Wright's film, addressing changes in setting, visual storytelling, and character portrayal. This method ensures a thorough examination of each subject while allowing for clear comparisons between the literary work and its cinematic adaptation.

On the other hand, film analysis delves into the visual and auditory elements of films, including cinematography, editing, sound design, and mise-en-scène (the arrangement of visual elements within the frame). It interprets how these cinematic techniques contribute to storytelling, characterisation, and thematic exploration on screen. Unlike literary analysis, film analysis considers the director's visual choices, camera angles, lighting effects, and use of colour to convey mood, atmosphere, and meaning.

Both approaches share a commitment to critical interpretation but differ in their tools and methodologies due to the distinct ways in which literature and film communicate their stories and themes to audiences.