Film analysis

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The film analysis is the scientific investigation of a film or a film group with the help of defined tools and methods. Film analysis is also applied to other audiovisual media such as television ( television analysis ) and is a method of film studies .

definition

Film analysis is not an interdisciplinary term or method that has the same definition. The different questions of the scientific areas developed different tools and methods of film analysis. What they have in common is a scientific approach to the medium of film in which the object of investigation is first dissolved and viewed in its components, then structured, examined and evaluated. Only this intensive, systematic examination of film allows a comprehensible analysis and interpretation. The final analysis, however, does not leave it with a separate consideration of image, spoken text, montage, etc., but must do justice to the film as a whole, which brings together these different levels.

The different types of film analysis combine the use of established tools such as B. the setting protocol for the investigation of aspects of the cinematic fine structure.

history

The spread and increasing importance of film in everyday life in the early 20th century led to an examination of film in academic work. The collection of scientific theories and practical discussions on film as interdisciplinary film theory forms the cornerstone of film analysis by creating concepts, interpretative approaches and, in the preparatory work, by examining various aspects of film. ( , P. 26)

From the 1960s onwards, various approaches to film analysis developed, the methodologies and questions of which were strongly influenced by the individual disciplines. Early forms of film analysis in Germany were shaped by literary studies (content analysis) and social sciences (research methods and questions). An interdisciplinary discourse emerged in the 1970s, in which, in addition to those already mentioned, other sciences also participate. Michael Schaaf describes the wide range of approaches in 1980 by presenting twelve types of film analysis (sociological, structural, film historical, filmographic, morphological, Marxist, genetic, psychological and statistical analysis, propositional analysis, meaning analysis and content analysis).

In addition to film analysis, film criticism has developed as a journalistic and mostly superficial, because it is reduced to plot, actors and show values ​​and developed under time pressure, debate and film interpretation , which was primarily shaped by literary and art studies. ( , P. 26)

Methods of film analysis

  • Transcription with examination of ...
  • Montage , color and other cinematic strategies
  • Investigation of the impact dimensions
    • Film reality (what happens in the film?)
    • Conditional reality (how / where / why / through whom was the film made?)
    • Reference reality (What real backgrounds does the film refer to? How does it depict this?)
    • Effectiveness (how is / was the film received by the audience?)

Types of film analysis

Empirical and social science film analysis

Gerd Albrecht's approach , which is based on sociological methodology, tries above all to check the fleeting impressions of a film experience using quantitative data. The data obtained through transcription are processed using statistical methods and are used to check previous questions and hypotheses. The aim is an objectively verifiable analysis and the expansion of knowledge about methods and effects of film art. ( , P. 31 f)

Systematic film analysis

Systematic film analysis is an interdisciplinary approach to film analysis . It first requires transcription as an absolutely necessary analysis framework. In addition, an examination of four analysis dimensions that influence reception (film reality, conditional reality, reference reality and effect reality) is required. This collection of quantitative and qualitative data and the ability to cite and structural examination of filmic content form the basis for the subsequent analysis.

Psychoanalytic film interpretation

Also interdisciplinary and based on the individual viewer experience, studied film psychoanalysis individual plants or entire genres in terms of their unconscious film effect. It is based on the systematic safeguarding of the viewing experience and its processing in group processes and in public discussions. In a second step, the film is examined in detail for the moments that trigger the observed viewing experiences; Both the recursive review of the work and the systematic inclusion of findings from film studies are used. The aim is to show the effect of the work on the unconscious of the audience.

Individual evidence

  1. ^ A b c Knut Hickethier: Film and television analysis. 3rd, revised. Edition G. Narr-Verlag, Tübingen 2001.
  2. ↑ Werner Faulstich : Brief history of the 'film analysis' in Germany. In: Helmut Korte, Werner Faulstich: Interdisciplinary film analysis: Contributions to a symposium at the Braunschweig University of Fine Arts. 1988, pp. 9-19.
  3. ↑ Michael Schaaf: Theory and Practice of Film Analysis. In: Alphons Silbermann, Michael Schaaf, Gerhard Adam: Film analysis: basics, methods, didactics. 1980, pp. 35-123.
  4. ↑ Helmut Korte: Introduction to Systematic Film Analysis . 3rd, revised. u. exp. Edition. ESB, Tübingen 2003, ISBN 3-503-07921-1 .
  5. ^ Andreas Hamburger: Film Psychoanalysis. The unconscious in the cinema and the cinema in the unconscious. Psychosocial, Giessen 2018, ISBN 978-3-8379-2673-6 , pp. 403 .
  6. ^ Andreas Hamburger & Katharina Leube-Sonnleitner: Like in the cinema. For film analysis in the group. Methodology of psychoanalytical film interpretation based on Lars von Trier's “Melancholia”. In: Ralf Zwiebel & Dirk Blothner (eds.): Melancholia - ways to psychoanalytical interpretation of the film . Vandenhoeck & Ruprecht., Göttingen 2015, ISBN 978-3-525-46125-9 , pp. 72-109 .

literature

  • Peter Beicken : How do you interpret a film? For upper secondary level ( Reclam's Universal Library 15227 Literature Knowledge for Schoolchildren ). Reclam, Stuttgart 2004, ISBN 3-15-015227-5 .
  • Benjamin Beil, Jürgen Kühnel , Christian Neuhaus: Study Guide Film Analysis. UTB-Verlag, Stuttgart 2012, ISBN 978-3-8252-8499-2 .
  • Alice Bienk: film language. Introduction to interactive film analysis. 2nd improved edition. Schüren, Marburg 2008, ISBN 978-3-89472-537-2 .
  • Werner Faulstich : Introduction to film analysis. ( Literary Studies in Basic Studies 1). 4th unchanged edition. Narr, Tübingen 1994, ISBN 3-87808-921-X .
  • Knut Hickethier : Film and television analysis. 4th updated & expanded edition. Metzler, Stuttgart et al. 2007, ISBN 978-3-476-02186-1 .
  • Werner Kamp, Michael Braun: Film Perspectives. Film analysis for school and university. Europa-Lehrmittel, Haan-Gruiten 2011, ISBN 978-3-531-16503-5 .
  • Helmut Korte: Introduction to Systematic Film Analysis. A work book. 3rd revised and expanded edition. Erich Schmidt, Berlin 2004, ISBN 3-503-07921-1 .
  • Jürgen Kühnel: Introduction to film analysis. Part 1: The characters of the film. ( Series Media Studies 4). Universitäts-Verlag, Siegen 2004 a. ö., ISBN 3-936533-13-X .
  • Tobias Kurwinkel, Philipp Schmerheim: Children and youth film analysis. (= UTB 3885). UVK Verlagsgesellschaft, Konstanz and Munich 2013, ISBN 978-3-8252-3885-8 .
  • Lothar Mikos: Film and television analysis. 2nd revised edition. UVK , Konstanz 2008, ISBN 978-3-8252-2415-8 ( UTB. Media and Communication Studies, Literary Studies 2415).
  • Eberhard Ostermann: The film count. Eight exemplary analyzes. Fink, Munich 2007, ISBN 978-3-7705-4562-9 .
  • Kerstin Stutterheim : Handbook of the film dramaturgy . 2nd expanded edition. Peter Lang Verlag, 2011, ISBN 978-3-631-61882-0 .
  • Sascha Trüllezsch: Contextualized media content analysis . With an example of the image of women in GDR family series. VS Verlag für Sozialwissenschaften, Wiesbaden 2009, ISBN 978-3-531-16503-5 .
  • Stefan Volk: Film analysis in class. On the theory and practice of literary adaptations. ( Simply German. Lesson model = Schöningh textbook ). Schöningh Verlag, Paderborn et al. 2004, ISBN 3-14-022264-5 .
  • Bernward Wember : Objective Documentary? Model of an analysis and materials for teaching. ( Didactic models 2). Colloquium-Verlag, Berlin 1972, ISBN 3-7678-0323-2 .
  • Bernward Wember: How does television inform? (Circumstantial evidence). List, Munich 1976, ISBN 3-471-79120-5 .

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