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How is Film theory viewed in a professional environment?
When I did my university course there was a heavy emphasis on politics, karl marx etc, sociology and semiotics. and the only thing ive found any use was Beyond every denotation there is a conontation which is a pretty common sense principal anyway.
Also surely the political and social viewpoint are individual to the film maker and wont really fit into any structured political ideology. So basically unique.
Im currently editing a pilot for a new comedy tv show so im not a begginner, ive been editing professional level material for two years now.
I just dont understand the relevance of any of this to anything I do, and its driving me crazy because its made out to be and the end all of filmmaking. Its annoying because its making my progress slow down because I had 3 years of this drilled into me, So any help would be greatly appreciated!
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36 Replies
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The key debate imo seems to be if a film/tv show represents the dominant social political ideology or does it represent a social political view which is unique to the creator. To me the former idea is ridiculous and semi paranoid, am I right in thinking this?
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[Jon Fidler] ” To me the former idea is ridiculous and semi paranoid, am I right in thinking this?”
I’d agree with you. But I never studied film. When I was training there seemed to be a widespread opinion that those of us who came into tv from a non-media background progressed more quickly than those who had studied some form of media at degree level as we had less to “unlearn”!
Personally, I reckon that John Berger’s “Ways Of Seeing” and Mamet’s “On Directing Film” had a direct influence on my work, everything else basically sits in the back of my mind and although it “informs” me/my attitude, it is always subservient to the story in hand.
So I think about such questions as “why should the audience care about this?”, “what is the function of this scene in the narrative structure?”, “to what extent is this character a metaphor for a bigger idea and how can I reveal that?”, etc, in what I think is a practical way – I want to show the emotional truth of whatever I’m cutting and I don’t really care about the socio-political intentions beyond that. (Which is probably why I’m an editor, not a director).
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All artistic majors are gonna offer courses for sleeping or getting other things done, man. Theory is a fine one for that.
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Brief anecdote.
A few years ago I cut an interview with a well known abstract artist. The interviewer asked him to tell her how he constructed a painting, and he spoke for some minutes about how this curve represented this thing and that colour value represented whatever it was, and so on. When he paused she asked him whether he was actually thinking about all these things while he was laying the paint on the canvas and he replied; hell no, at that point I’m just trying to make the damn thing look the way I want it to.
I think that’s how lots of us work – buy me a beer and I’ll give you chapter and verse, but when I’m actually cutting I’m just trying to get the damn thing to work.
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You nailed it. Story Telling, plain and simple.
Richard Clark’s kiwicafe.com
Film | Photography | Writing
http://www.kiwicafe.com
+64 27 291 5494
Aotearoa New Zealand -
Im glad people on here agree. The way these people make it out to produce a film you need to be the new Karl Marx LOL.
Half of the time I pretty much rely on inutition, rhythm and storytelling knowledge to edit. Thats pretty much isnt it.
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No offense, but from the sounds of your description, your education seems like it was taught by those who “teach” instead of “do”. What would have been more productive would have been an education in entrepreneurship coupled with the mechanics of storytelling.
All films and TV shows are produced in order to make money. The originator might have a political view – and I think all do including the most “objective” documentary filmmakers – but ultimately it’s about getting paid. If they don’t admit that they are liars. Because no matter how altruistic – or manipulative – their motives, if the project isn’t successful, they will never get the chance to do it again.
Of course, not everything has high and mighty goals. Sometimes the entertainment value is a valid goal in itself. In that sense many TV shows and films have the same inherent value as your favorite YouTube video about kittens 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Hi Oliver
No youre absolutely right, it was a total waste of time. All the things you mentioned I have taught myself in my spare time since and just wanted confirmation from working professionals that I can finally drop this extra nonsense!
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How does politics actually fit into storytelling though. I mean unless the subject matter involves it, like the tv show Rome or something like the office where work politics is the forefront of the story, other than that im lost.
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I’d like to put in a good word for semiotics here. I try to apply it in everything I shoot, I evaluate the frame in terms of a visual subtext to support the message I want to send. I think all of us do, but we do much of it unconsciously, informally. When you start moving things around in the scene to make a better picture, you’re beginning to use semiotics.
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