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Cinema Studies:

The Key Concepts

This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998).

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Cinema Studies:

The Key Concepts

Second edition

SusanmHayward

LondonmandmNewmYork

First published 2000 by Routledge

11 New Fetter Lane, London EC4P 4EE

Simultaneously published in the USA and Canada

by Routledge

29 West 35th Street, New York, NY 10001

Routledge is an imprint of the Taylor & Francis Group This edition publishedd in the Taylor & Francis e-Librdary, 2001.

© 2000 Susan Hayward

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book has been requested

ISBN 0-415-22739-9 (hbk)

ISBN 0-415-22740-2 (pbk)

ISBN 0-203-12994-6 Master e-book ISBN

ISBN 0-203-17993-5 (Glassbook Format)

For my students.

vii

CONTENTS

Preface to the first ediition ix

Acknowledgements xi

List of Key Conceptsxiii

KEY CONCEPTS 1

Bibliography 476

Index of Films 495

Name Index 505

Subject Index 517

ix

PREFACE TO THE FIRST EDITION

Key Concepts in Cinema Studies has been two years in the writing. It is intentionally an in-depth glossary which, it is hoped, will provide students and teachers of film studies and other persons interested in cinema with a useful reference book on key theoretical terms and, where appropriate, the various debates surrounding them. The glossary also gives historical overviews of key genres, film theory and film movements. Naturally, not 'everything' is covered by these entries. In a later edition further entries may be included, and I would welcome suggestions of further entries from readers. The present book is based on my perception of students' needs when embarking on film studies; its intention is also to give teachers synopses for rapid reference purposes. Entries have been written as lucidly and as succinctly as possible, but doubtless there will be some 'dense' areas; again I welcome feedback. My own students have been very helpful in this area. All cross-references are in bold. Sometimes the actual concept cross-referred may not be the precise form in the entry (for example, ideological in bold actually refers to an entry on ideology). Bibliographical citations at the end of certain entries refer to the bibliography at the end of the book. Wherever it is useful to explain the particular relevance or direction of a suggested text, this has been done. Cross-references and bibliographies are given in order of importance wherever this seemed significant, otherwise in alphabetical order. Finally, instead of a table of contents in traditional style I have supplied a list of all concepts dealt with in this book. Where a concept is part of a larger issue, the entry is a cross-reference to the main entry where it is discussed (thus, 'jouissance' is entered under the 'J' entries

Preface to the first edition

x but as a cross-reference to 'psychoanalysis' where it is explained. At the beginning of most entries there is a parenthesis suggesting that you consult other entries - I believe you will find this dipping across useful and that it will help widen the issue at hand. xi

ACKNOWLEDGEMENTS

My thanks for the Second Edition extend to Jacqueline Maingard for her help on certain entries (specifically Postcolonial Theory, Third Cinema, Third World Cinema); to my mother Kathleen Hayward for her assistance on the Bibliography. All other thanks remain the same. Thus, I would like to thank various people who have helped this project along. First, Rebecca Barden, my editor, whose unfailing enthusiasm for the project has made it such an enjoyable book to write. Second, colleagues, students and Routledge readers who put a lot of effort into giving me feedback on the different entries. Third, I must express my thanks to the British Film Institute for its existence and the extremely helpful librarians who made my task that much easier. My thanks for the First Edition also go to Professor Jennifer Birkett for making time available to complete the project. xiii

LIST OF KEY CONCEPTS

A absence/presence adaptation agency ambiguity anamorphic lens animation apparatus art cinema aspect ratio asynchronization/asynchronous sound audience auteur/auteur theory/politique des auteurs/Cahiers du cinéma avant-garde B backstage musical see musical

Black cinema - UK

Black cinema/Blaxploitation movies - USA

B-movies

body horror films see horror films

British New Wave

buddy films

List of key concepts

xiv C Cahiers du cinéma group see auteur/auteur theory, French

New Wave

castration/decapitation see psychoanalysis censorship cinema nôvo cinemascope cinéma-vérité class classic canons see codes and conventions classic Hollywood cinema/classic narrative cinema/ classical narrative cinema codes and conventions/classic canons colour comedy connotation see denotation/connotation content see form/content continuity editing costume dramas counter-cinema/oppositional cinema crime thriller, criminal films see film noir, gangster/criminal detective thriller, private-eye films, thriller cross-cutting cut D decapitation see castration/decapitation deconstruction deep focus/depth of field denotation/connotation depth of field see deep focus desire see fantasy, flashbacks, narrative, spectator, stars, subjectivity detective thriller see gangster films diachronic/synchronic diegesis/diegetic/non-diegetic/extra- and intra-diegetic director director of photography discourse disruption/resolution

List of key concepts

xv dissolve/lap-dissolve distanciation documentary dollying shot see tracking shot dominant/mainstream cinema E editing/Soviet montage ellipsis emblematic shot enunciation epics

European cinema

eyeline matching excess expressionism see German expressionism F fade fantasy/fantasy films female spectator see spectator feminist film theory fetishism see film noir, voyeurism/fetishism film industry see Hollywood, studio system film noir film theory see theory flashback foregrounding form/content framing

Free British Cinema

French New Wave/Nouvelle Vague

French poetic realism

futurism G gangster/criminal/detective thriller/private-eye films gaze/look gender

List of key concepts

xvi genre/sub-genre

German expressionism

Germany/New German cinema

gesturality gothic horror see horror H

Hammer horror see horror

Hays code

hegemony historical films/reconstructions

Hollywood

Hollywood blacklist

Hollywood majors see classic Hollywood cinema, studio system horror/gothic horror/Hammer horror/horror thriller/body horror/vampire movies I iconography identification see distanciation, spectator-identification identity see psychoanalysis, spectator-identification, subjectivity ideology image

Imaginary/Symbolic

independent cinema intertextuality

Italian neo-realism

J jouissance see psychoanalysis jump cut L lap dissolve see dissolve lighting look see gaze/look, imaginary/symbolic, scopophilia, suture

List of key concepts

xvii M mainstream cinema see dominant/mainstream cinema matchcutting mediation melodrama and women's films metalanguage metaphor see metonymy/metaphor method acting metonymy/metaphor mise-en-abîme mise-en-scène misrecognition see psychoanalysis, suture modernism montage see editing, Soviet cinema motivation musical myth N narrative/narration naturalizing naturalism neo-realism see Italian neo-realism

New German cinema see Germany/New German cinema

New Wave/Nouvelle Vague see French New Wave

O

Oedipal trajectory

180-degree rule

opposition see narrative, sequencing oppositional cinema see counter-cinema P paradigmatic/syntagmatic see structuralism/post-structuralism parallel reversal parallel sequencing see editing patriarchy see Imaginary/Symbolic, Oedipal trajectory, psychoanalysis

List of key concepts

xviii performance see gesturality, star system plot/story see classical Hollywood cinema, discourse, narrative point of view/subjectivity see subjective camera, subjectivity politique des auteurs see auteur, French New Wave, mise-en-scène pornography postcolonial theory postmodernism post-structuralism see structuralism/post-structuralism preferred reading presence see absence/presence private-eye films see gangster films producer projection see apparatus, psychoanalysis projector see apparatus psychoanalysis psychological thriller see thriller Q

Queer cinema

R realism reconstructions see historical films repetition/variation/opposition see narration, sequencing representation see feminist film theory, gender, sexuality, stereotypes, subjectivity resistances see avant-garde, counter-cinema reverse-angle shot see shot/reverse-angle shot road movie rules and rule-breaking see counter-cinema, jump cut S science fiction films scopophilia/scopic drive/visual pleasure seamlessness semiology/semiotics/sign and signification sequencing/sequence setting sexuality

List of key concepts

xix shots shot/reverse-angle shot sign/signification see semiology/semiotics social realism sound/soundtrack

Soviet cinema/school

Soviet montage see editing, Soviet cinema

space and time/spatial and temporal contiguity spectator/spectator-identification/female spectator stars/star system/star as capital value/star as construct/star as deviant/star as cultural value: sign and fetish/stargazing and performance stereotype structuralism/post-structuralism studio system subject/object subject/subjectivity subjective camera surrealism suture syntagmatic see paradigmatic T theory

Third Cinema

Third World Cinemas

30-degree rule

thriller/psychological thriller time and space see spatial/temporal contiguity tracking shot/travelling shot/dollying shot transitions see cut, dissolves, fade, jump cut, unmatched shots, wipe transparency/transparence travelling shot see tracking shot U underground cinema unmatched shots

List of key concepts

xx V vampire movies see horror movies variation see repetition vertical integration violence see censorship, voyeurism/fetishism visual pleasure see scopophilia voyeurism/fetishism W war films

Westerns

wipe women's films see melodrama and women's films Z zoom 1 absence/presence (see also apparatus) A first definition: cinema makes absence presence; what is absent is made present. Thus, cinema is about illusion. It is also about temporal illusion in that the film's narrative unfolds in the present even though the entire filmic text is prefabricated (the past is made present). Cinema constructs a 'reality' out of selected images and sounds. This notion of absence/presence applies to character and gender representation within the filmic text and confers a reading on the narrative. For example, an ongoing discourse in a film on a central character who is actually off-screen implies either a reification (making her or him into an object) or a heroization of that character. Thus, discourses around absent characters played by the young Marlon Brando, in his 1950s films, position him as object of desire, those around John Wayne as the all-time great American hero. On the question of gender-presence, certain genres appear to be gender-identified. In the western, women are, to all intents and purposes, absent. We 'naturally' accept this narrative convention of an exclusively male point of view. But what happens when a western is centred on a woman, for example Mae West in Klondike Annie (Raoul Walsh, 1936) and Joan Crawford in Johnny Guitar (Nicholas Ray, 1954)? Masquerade, mimicry, cross-dressing and gender-bending maybe, but also a transgressive (because it is a female) point of view - absence made presence. Absence/presence also feeds into nostalgia for former times. This is most clearly exemplified in the viewing of films where the stars are now dead. Obviously, the nostalgia evoked is for different types of 'realities' depending on the star yearned after. For example, Marilyn Monroe and James Dean elicit different nostalgia A absence/presence 2 responses from those of Cary Grant and Deborah Kerr. A second definition (see also apparatus, Imaginary/Symbolic, psychoanalysis, suture): film theorists (Baudry, Bellour, Metz, Mulvey (all 1975) making psychoanalytic readings of the dynamic between screen and spectator have drawn on Sigmund Freud's discussions of the libido drives and Jacques Lacan's of the mirror stage to explain how film works at the unconscious level. The mirror stage is the moment when the mother holds the child up to the mirror and the child imagines an illusory unity with the mother. This is a first moment of identification, with the mother as object. This moment is short-lived, for the child subsequently perceives either his difference from or her similarity with the mother. At this point the child imagines an illusory identification with the self in the mirror but then senses the loss of the mother. In Lacanian psychoanalytic terms this part of the mirror stage is termed the Imaginary. The next phase of the mirror stage is termed the Symbolic and can be explained as follows. The child, having sensed the loss of the mother, now desires reunification with her. But this desire is sexualized and so the father intervenes. He enters as the third term into the mirror/reflection, forming a triangle of relationships. He prohibits access to the mother by saying 'No'. In this way language functions as the Symbolic order. For the child to become a fully socialized being/subject, she or he must obey the father's 'No': that is, the 'Law of the Father'. In so doing, the child enters the realm of language (enters the Symbolic Order): she or he conforms to the Law of the Father which is based in language (the uttered 'No'). The process of socialization for the male child is complete, supposedly, when he finds eventual fulfilment in a female other; the female child, for her part, turns first to her father as object of desire and later transfers that desire onto a male other. (For further clarification see Imaginary/Symbolic and Oedipal trajectory; and for a full discussion see Lapsley and Westlake, 1988, 80-90.) By analogy with this psychoanalytic description of the mirror stage, the screen is defined as the site of the Imaginary: making absence presence (bringing into the spectator's field of vision images of people or stars who are not in real life present). The screen also functions to make presence absence: the spectator is absent from the screen upon which she or he gazes. However, the interplay between absence and presence does not end here; if it did it would end in spectator alienation. Although the spectator is absent from the screen, she or he becomes presence as the hearing, adaptation 3 seeing subject: without that presence the film would have no meaning. In this respect the screen is seen as having analogies with the mirror stage. The screen becomes the mirror into which thequotesdbs_dbs44.pdfusesText_44

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