History of Classical Film Theory

PROJECT DESCRIPTION

This project, one of two companion studies, explores the epistemologies and debates that constitute classical film theory (arguably 1900 – 1970s, although part of this study is to help to clarify the periodisation of classical film theory). Classical film theory is largely concerned with film form and representation, and underscored by related philosophies, social theories, and psychological theories. It developed not just from the emergence of film, but also philosophy and psychological theories of perception. Initially film was conceived as a copying machine, but soon filmmakers began to explore the artistic capacities of the medium, not only by making films, but also by writing about them. Canudo and Gance in France conceived of an artistic film medium before it existed. Münsterberg explored how the artistry of film begins with the psychology of perception and depends upon both art theory and the psychological functioning of attention, memory, imagination, modal thinking, and our capacities for empathy and sympathy. The art of film depends on both form and the use of form. Theorists interrogated how a machine that records could be used for abstract representation. Soviet montage filmmakers and theorists established a formidable body of theories elaborating how film functions as a dialectical machine that produces meaning through editing. Realists contested such highly formalist theories, arguing that film communicates not by abstracting images of reality, but by recording images and durations to experience. Film and photography function differently from the other arts. They provide audiences with the world itself through indexical traces, regardless how distorted the image may be. Whether formalist or realist, classical film theorists concentrate on the differences between seeing and hearing, on the one hand, and filmic representation on the other. Film is not a recording machine, nor an illusion machine, but a communication machine. This eventually led theorists to question whether film is a language.

 Classical film theory does not have the prominence it once had. Screen theory, or contemporary film theory, supplanted classical film theory with a different agenda. Motivated by the spirit of 1968, contemporary theory relied on poststructuralism, Marxism, and psychoanalysis to understand how film functions to support and reproduce capital, and to produce viewers as the subjects of capital. With these arguments came scepticism about the previously perceived stabilities of representation and meaning, and the theorisation of viewership became a dynamically political project. These arguments developed, though, not by defeating classical theory, but largely by ignoring it. Some of classical film theory’s arguments have been revisited by analytical film theory, but these reconsiderations have largely been inflected by analytical philosophy and cognitive theory.

 This project aims to identify and map the epistemologies of classical film theory, and to situate these ideas in 19^th and 20^th century thought. It develops a history that explores the interrelationships between theorising and making film. It also addresses a core limitation of the classical film theory canon. Classical film theory matured in film studies programmes in English speaking universities. Although many theories were translated into English, notably from German, French, and Russian, the discipline grew as an English-language phenomenon in North American and British universities. We encourage applications from those with foreign language skills and a willingness to explore international libraries and archives to bring to this discussion works absent from the English-language-centric debate. 

Academic Qualifications

A first degree (at least a 2.1) ideally in film, cultural, and/or media studies with a good fundamental knowledge of theories from one or more of those disciplines.

 English Language Requirement

IELTS score must be at least 6.5 (with not less than 6.0 in each of the four components). Other equivalent qualifications will be accepted. See the university webpage: https://www.napier.ac.uk/study-with-us/international-students/english-language/english-language-requirements

 Essential attributes

·       Fundamental experience of researching, reading, and writing in film, cultural, and/or media theory

·       Competent in detailed analyses of theory and relevant historiographic methods

·       Knowledge of a range of film and related theories from the late 19^th century to the 1970s

·       Good written and oral communication skills

·       Strong motivation and ability to work autonomously, with independent research skills relevant to the project

·       Good time management

 Desirable attributes:

Foreign language competency.

 *****

Applications for part-time study welcome.

Deadlines & timescale: Our standard entry times for research degrees are October and March, but you can make your application at any time and it will be considered for the next available intake, in this case: apply by 30 November 2024 for potential entry on 1 March 2025, or by 31 May 2025 for 1 October 2025.