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Film Theory Links

• For an unusual perspective on WHY THE QUALITY OF HOLLYWOOD MOVIES DECLINED AFTER WWII, plug into the Ludwig von Mises Institute and read the article by Mark Thornton. This is an archcapitalist forum for sometimes wacky ideas about how government intervention ruins everything it touches -- but in this case it has a point. I encourage you to read this article, then observe how few movies are made with more than one "star."
• For a Christian/Conservative view on what is right or wrong with films and popular culture today, plug into the Reformation of the Arts and Music web site, at ArtsReformation.com. Their pages house a copy of the original Motion Picture Production Code of 1930. Read it! I suspect many people will find that they in fact agree with the basic sentiments of the code. Note in particular the three general principles that are the basis of the code. On the other hand, be on the lookout for provisions of the code that clearly reflect the wrong sentiments, such as Provision II, number 6!
• Are films always better than TV? Traditionally, the answer always been "yes." But given the recent crop of Hollywood movies and the recent migration of some talent to TV the answer may not be so easy. For an interesting perspective on why TV may (temporarily) be better than film, read the excellent article recently published in Creative Loafing, generally an excellent guide to the alternative arts. (Other reasons for the decline of quality in films are mentioned in my web pages, e.g., the decline in average age of movie-goers, death of first wave of European talent after WWII, etc.)
• Wired article on the source of the original story for the film AI.
• The "No Theory Theory" of film criticism is defended in an interesting article by Jo Smith. She states: "There is no lack or absence in a filmic encounter, no hidden meaning to be unearthed, no abstract body of knowledge to reach for to re-insert a meaning."
• For arguments against the no theory theory, and the postmodern approach in general, see A. D. Coleman's article on Cindy Sherman. Also see my comments on the no theory theory in my Mistakes in Criticism.
• Excellent On-line magazine: IMAGES - a Journal of Film and Popular Culture. See in particular Cindy Hendershot's article on Monster in the Soda Shop, a film that was featured on SCIENCE FICTION THEATER 3000. Today the film is hopelessly out of date -- and filled with acting and "special effects" so bad that one can only laugh. Yet, the article cogently argues for the morally redeeming quality of films such as this one, produced when America's youth culture started to become a "problem" for the establishment.
• For an resource on criticism inspired by one of the most important cultural/intellectual movements of this century (psychoanalysis) see the Forum for the Psychoanalytic Study of Film. Good example of criticism along these lines: Harvey Roy Greenberg's article on FARGO. Article reveals moral underpinnings of the film.
  
• For more on a Christian view with a Postmodern twist see Shootthemessenger.com. There seems to be some appreciation here for the fact that the ambiguity of the Postmodern approach can provide a healthy environment in which to explore new possibilities for positive content. On the other hand, there may be a lurking supposition here that every popular production with a postmodern edge is ultimately committed to relativism -- and this, I think, is a dubious claim. See for example an interesting article on Xena in which the author (Marion Williams) asserts:

  "The meta-narrative is that there does not seem to be one. When visually 'reading' Xena, there doesn't seem to be any clear differentiation between right and wrong, real and imagined, mortal and immortal. Apart from the situational ethics which guide individuals in their own story, there is no mega-story which defines the nature of good and evil."

  An interesting propostion. Partly correct and partly incorrect, in my view. It is correct to put "visually read" in quotes because you cannot "visually read" visual media and still derive the full meaning. There is always a script/narrative context that defines the parameters of visual data. It is also corect to observe that good and evil become less well differentiated in Postmodernism. Postmodernism (by definition) does not define good and evil. That is not to say that it cannot seek after or struggle with the concepts of good and evil. I doubt very much that television in particular, whether or not it is "Postmodern," can avoid the following general requirement: the conflict between good and evil MUST be a central, overarching mega-story in any popular narrative. I have seen both XENA and Hercules. I do not think they are exceptions to this rule.

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