Post-Structuralism and Film the Objective

Post-Structuralism and Film

The objective of this study is to answer how the post-structuralist synthesis asks structuralism to account for its own structurality and begin to propose a theory of resistance to dominant cultural values and expectations and to dominant modes of filmmaking. This work will additionally answer if post-structuralism offers a third model of deconstruction and politicized intervention into first and second cinematic practice, how would one demonstrate that kind of analysis in a film such as Yol?

Structuralism

The first wave of structuralism is stated to have conducted analysis on texts holding them as "autonomous, self-contained entities." (Barrat, nd) the question however, of whether meaning is not an already existing fact but instead is such that every reader and viewer of that text creates meaning anew. If that were so then it would require attention on what occurs in the course of this encounter. In the 1976 Edinburgh Film Festival Magazine, it was described by stating that the primary problem of the critique of film "can no longer be restricted to the object cinema, as opposed to the operation cinema." (Barrat, nd) it is reported that as Barthes made the shift from structuralist scientist a concern with the actual experience of reading and the pleasures (cerebral, visceral and sometimes even erotic) that it provides, Metz moved from a concentration on film language to the essays collected in Psychoanalysis and Cinema concerned with problems such as the effect produced upon us, the audience by the 'operation cinema' and why we enjoy watch movies." (Barrat, nd)

Theoretical Writing Focus in the 1970s

In 1970s, the political commitment of 'Screen' greatly influenced the development and consolidation of theory. The main focus of theoretical writing is reported to have become: (1) to work towards a greater understanding of the relationship between viewer and film; and (2) to assess the ideological implications of this process; and (3) to do so not so much in the interests of the scientific accuracy or high scholarly endeavor rather with the political aim to develop new social practice of the cinema." (Barrat, nd) Collin McCabe offered a concept of the classic realist text in 1974 that was highly influential. McCabe stated this concept within two these: (1) 'The classic realist text cannot deal with the real as contradictory'; (2) 'In a reciprocal movement the classic realist text ensures the position of the subject in a relation of dominant specularity' (1974, p. 12). Ideology takes the form of systems of representation that can have a political effectivity of their own. The political order is secured, in most societies not so much by coercion as by consent. The primary agencies for organizing and holding in place this consent are what are referred to by Althusser as the 'ideological state apparatuses." (Barrat, nd)

Post-Structuralism

Post Structuralism holds a great deal of what is it idea in filmmaking upon the basis that structure is influenced ideologically by the dominant capitalist institutions in society including the church, family and educational system and as well art is held as one of the apparatuses. Marxist theories posit that one class indoctrinates another class however, since this happens at a level that is unconscious is instead "a process of socialization, an essential condition of communal existence within any economic order." (Barrat, nd) it is proposed by Althusser that the person is situated as subjects in society in "subtle and large imperceptible ways -- ways that simultaneously promote in them the impression of being consistent, rational, and free human agents." (Barrat, nd)

Grand Theory -- All Encompassing

Grand Theory dominated the 1970s film studies. Grand Theories set out to provide a description and explanation of the wider world elements including language, psychology, and society. What this means for studies of film is that every possible question about film can be explained through use of a framework described as "all-encompassing." (Barrat, nd) This view however, is not without its challenges. For example, there is a risk that the film will be examined "from the top-down, interpreting the film so that it fits into the general theoretical framework, and thus ignoring an analysis of the film's specific qualities." (Barrat, nd) in addition, it is reported that this theory is itself questionable in terms of its validity. During the 1980s, it is reported, "a new type of film scholarship emerged." (Barrat, nd) Over the past two decades, there have been two post-theoretical approaches to film: (1) neo-formalism/historical poetics; and (2) historical context. (Barrat, nd)

Classical Hollywood cinema is called the stylistic norm where there is classical narration focused on characters that are goal-oriented with a continual system of editing. These norms are held to be "against the historical conditions of the film's production and exhibition. There are various conditions for example economic and technological or "different modes of production and different advances in technology constraint what a film is and is not able to achieve." (Barrat, nd) Each of the groups is reported to operate "in truth against a socio-political background: films are viewed by different social groups with different attitudes and expectations." (Barrat, nd)

Stated as the third and final area of study in the neo-formalist school is the viewer of the film assumed to be a "passive receiver of information." (Barrat, nd) it is questioned how the psychological activity of the view of the film should be disseminated which leads to the second-post theoretical approach or that of cognitive film theory. Cognitivism was perceived by Hugo Munsterberg in 1916. Cognitivism focuses on normal psychological processes of "both a nonconscious and a conscious nature." (Barrat, nd)

Third Cinema

Third cinema is held as aesthetic and political with principles that serve to result in political, cultural, and social changes worldwide. Third cinema film may have a revolutionary call or may tell a story of failed and frustrated problems associated with gender, class, or race in terms of oppression. Third cinema is critical in filmmaking due to its ability to relate commentary on social issues and its ability to bring about change.