GUIDELINES FOR WRITING FILM CRITICISM
Let's start with the difference between a review and criticism.
A reviewer writes for those who haven't seen the film, as a
kind of consumer guide, and is usually concerned with value
judgements (is the film under consideration worth the price
of admission?). The critic writes for those who have seen the
film, as part of a critical dialogue, and is concerned with
articulating the film's thematic concerns (what meanings arise
from the narrative concerns and the formal devices of the film?).
Because you will be writing criticism and not reviews, your
essays should not summarize the plot. When writing film criticism,
assume the reader has seen the film. Criticism means developing
an argument and supporting it with evidence from the film, not
delivering opinion. Here's an example:
You've probably had a conversation like this:
Heh, have you seen PSYCHO? Yeah, I hated it. Oh...I loved it. Oh.
On a scale from 1 - 10 (5 passes) either of these "reviews" (love/hate) would rank as -1 (and that would be generous). It is sheer opinion without any substantiation at all. Opinion must be substantiated. Let's take the "loved it" response and see how it could be improved:
I loved the suspense.
This gets a 1 since some specificity has been added. But that's all.
I loved the way Hitchcock got me so involved. I was really frightened a lot. He certainly is a master of suspense. His use of staircases and bathrooms was really scary.
This is still weak and would get a 2 or 3. It's very subjective and chatty. It lacks a clear thesis. Words like "really," "certainly," and "scary" are too vague. The paragraph has little coherence. Much more precision is needed.
I loved the way the film creates suspense and involvement effectively. Hitchcock does not just scare us or show us horrible things. He involves us with his characters and shows how there is something sinister in all of us, even as viewers.
This is better. It might get a 4. Notice that by now whether you loved PSYCHO or not has little impact on the argument. The paragraph is more than a simple statement of likes and dislikes. The first sentence could begin, "PSYCHO creates suspense and involvement effectively" and not lose any of its force. Opinion, as such, has become secondary to a thesis. This is the beginning of a critical/analytical perspective. (What's lacking is further clarification of the thesis, substantiation with examples from the film to support the argument, and stronger organization of the composition.) The last sentence, for example, introduces the viewer but doesn't make it at all clear how the viewer might be "sinister."
PSYCHO builds suspense by making us identify with characters strongly. We care about their fate and when they find themselves threatened, we want them to overcome danger successfully. Hitchcock builds this identification carefully through point-of-view editing, acting, and dialogue. With these formal means, he not only makes us care about people, he also makes us want dangerous, frightening things to happen to them so that we have something to care about. In this way Hitchcock questions our own morality. This point is made particularly vivid by our shift in identification from Marion to Norman. We want Norman to protect his mother, and himself even though we realize he is covering up a crime. But we also want to see him faced with difficulties (like the car that may not sink, or Arbogast's curiosity). These are desires we would feel guilty about in real life but the structure of Hitchcock's film encourages us to have them. We now need to examine in greater detail how Hitchcock gets us to shift our identification from Marion to Norman and to recognize our own darker impulses.
This is better, though somewhat dense; it might earn a 6. The
lead sentence introduces the theme clearly. The rest of the
paragraph elaborates the point. The paragraph also reworks ideas
in the earlier example and expresses them more effectively.
What remains to be seen is how well the argument can be substantiated
by concrete references and specific examples involving formal
devices such as editing, acting, and dialogue (without summarizing).
This will develop a theme, at the expense of a general, overall
impression of the film's worth (reviewing). Opinion is present
(the critique implies that the film succeeds in an important
task through formally appropriate means), but opinion only prompts
or motivates the criticism, it does not begin and end it. A
provocative, clear theme developed in relation to specific,
cinematic qualities -- lighting, acting, camera angle or movement,
editing, the juxtaposition of images and sound, the role of
dialogue, or pace etc. -- allows an interpretation of the film
to emerge that acknowledges both the actual texture of the film
and your experience of it. (originally distributed by Film Studies,
Queen's Univeristy)
A plot summary of who did what, when and where or a description
of shots and angles (however eloquent) are NOT adequate work
for this course.
Your essays should advance an argument about what the sequence
or film under consideration is saying thematically -- this argument
(your thesis) must be clearly stated in the introduction. Consider
what meanings (thematic implications) are constructed by the
use of certain cinematic features (such as lighting, editing,
sound, dialogue, characterization, narrative structure, setting).
The theme may be thought of as what the film is "saying"
about what it depicts -- remember, no film is neutral. One word
is not a theme. For example, to say that EASY RIDER is about
freedom is not enough. To say, however, that EASY RIDER is about
the impossibility of finding freedom gets at the thematic concerns.
It is also not enough to say that some device progresses the
plot -- remember, you need to advance an argument about the
meanings created. Suspense itself is not a theme. It is a device
that can carry thematic significance, but you must state how
suspense is used and to what thematic end. Your argument is
constructed by seeing and analyzing relationships among the
parts. For example, consider constrasts (what oppositions does
the film set up?), and similarities (pay attention to recurring
features -- "running motifs"). It is also important
to account for the juxtapositioning of shots -- a shot may be
read in relation to what comes after or before. Cause and effect
relationships are also important (if the film depicts a disaster,
who and/or what does it blame?). You should also pay attention
to changes in narrative progression and/or the characters.
You don't have to talk about everything in the sequence/film,
but you do need to support your argument about the thematic
concerns with sufficient evidence. Concrete examples are a central
feature of an analysis since they provide the justification
for your argument. An analysis should not only provide evidence,
it should also demonstrates how that evidence supports the argument/thesis
being advanced. While you need to invoke aspects of the film
for your examples, avoid excessive description. For example,
if you are arguing that a character is constructed in a certain
way, only cite the evidence that supports your analysis -- avoid
details that don't add anything to your argument -- if a character's
clothing is not important for your analysis, don't bother describing
it. If you're not making a thematic point about your observations
you're likey being overly descriptive.
A weak paper is simply descriptive with no attempt to pull out
the possible implications of what the writer observes. In order
to transform the descriptive into the analytical, ask your self
"So what?","What are the thematic implications
of what I've observed?". It is not enough, for example,
to say something is constrasted with something else -- consider
what is being said about the constrast. The point is not to
write something with which you think the reader will agree,
but to convince him or her that your thesis is solid because
you can justify your assertions with examples. You must end
your essays with a conclusion that re-states and ties up your
argument.
Don't organize your papers according to the narrative progression
-- i.e. starting with the first scene and ending with the last.
Organize according to thematic concerns. Aim for an organization
that logically develops/builds your argument. There should be
a smooth flow from one idea to the next. It is usually a good
idea to begin a paragraph with the point you are making (the
thematic implication), and then supply the evidence that supports
your analysis. The introduction should include not only your
thesis statement, but also an indication of how you will develop
your argument -- think of it as an orientation or guide for
your reader. By the end of your first (or second) paragraph
the reader should know what you are going to argue and how you
will go about doing it.
There is no one right interpretation, there are, however, better
interpretations than others. Make sure the film supports your
reading of it. If, for example, there is evidence that contradicts
your interpretation, you must account for it.
Format
If secondary sources are used you must cite them in a bibliography.
If you use someone's idea (whether it is a direct quotation
or not) you must give credit. Use parenthetical references,
i.e. (Rentschler 234), not footnotes or endnotes. Footnotes
should only be used for information that exceeds bibliographical
references.
* A film entry usually begins with the title, in italics, and
includes the director and the year. You may include other data
that seem pertinent - such as the names of the writer, performers,
and producer - between the title and the distributor.
The Marriage of Maria Braun. Dir. Rainer Werner Fassbinder.
1978.
The Marriage of Maria Braun. Dir. Rainer Werner Fassbinder.
Perf. Hanna Schygulla, Klaus Löwitsch, Ivan Desny. 1978.
* If you are citing the contribution of a particular individual,
begin with that person's name.
Kinski, Klaus, perf. Aguirre - Der Zorn Gottes. Dir.
Werner Herzog, 1981.
(based on Joseph Garibaldi, ed. MLA Handbook for Writers
of Research Papers. 4th ed. New York: Modern Language Association,
1995. 172.)
Type and double space. Length is calculated according to the
number of words (250) on a standard typed page. Don't increase
or decrease the font size to meet the page requirement; use
Times, font size 12.
Use the present tense. Whatever happens in the film happens
every time it is run.
Choose your words carefully. Avoid superlatives ("fascinating,"
"genius") and vague terms ("interesting").
Be specific. Aim for a clear style -- try reading your work
out loud -- if it doesn't make sense to the ear, it won't make
sense to the eye. This is also a good way to eliminate convoluted
sentences -- any sentence that causes you to gasp for breath
is too long.
DO NOT USE FOLDERS (PLASTIC OR PAPER); secure your assignments
with a paperclip or a staple.
Number your pages and proof read.
(based on History in Art 295 outline)