1. Film as a Dialogue Interpreting cinema
Marc Adang en Gerwin van der Pol

2. Film as a Dialogue Interpreting cinema
Introduction

3. What does it mean to watch a film?
Difference between ‘ordinary’ filmviewing, and what a researcher does.
The ordinary filmviewer understands and interprets,
The researcher does the same, but does it systematically, and reflects on the whole process
Film interpretation= to analyse + to signify
Film interpretation = also, a lengthy process of asking questions, search for answers, and testing conclusions

4. Dialogue with theory
Theories can offer models to gain insight in a facet of the film.
The same theory, applied to different films, results in different answers.
Different theories, applied to the same film, can lead to the same insight.
Every method, theory or model can be applied on a film, but that doesn’t necessarily mean that every theory is equally useful.

5. Film as a dialogue Preface A. Introduction B. Filminterpretation
1. A film is a dialogue
B. Filminterpretation
I. Preliminary orientation
2. Acquaintance with the film
3. Asking questions
II. Time and space
4. Time
5. Space
III. Characters, Relations, development
6. Characters
7. Relations
8. Development
IV. Interpretation
9.Interpretation
C. References

6. Film as a Dialogue Interpreting cinema
Part A.
A film is a Dialogue

7. A film is a dialogue The same film is different:
Before
During
After
Understanding takes place on three different levels:
Diegesis
Film
Reception

8. Film as a dialogue Preface A. Introduction B. Filminterpretation
1. A film is a dialogue
B. Filminterpretation
I. Preliminary orientation
2. Acquaintance with the film
3. Asking questions
II. Time and space
4. Time
5. Space
III. Characters, relations, development
6. Characters
7. Relations
8. Development
IV. Interpretation
9.Interpretation
C. References

9. Acquaintance with the film
First, pre-systematic analysis
Constant adjustments, corrections and additions during the course of studying the film.
Chart of scenes
Synopsis
Characterization of the film

10. Chart of scenes Comparable to a chart of scenes in drama
But now made by the researcher
Not a complete text
More non-verbal information + Indices
Spreadsheet, 11 columns

11. Chart of scene/spreadsheet 1. concrete information
Scène numeration and time code
Who? (descriptive)
Where? (descriptive)
What? (descriptive)

12. Chart of scenes/spreadsheet 2. interpretation
segmentation
Indices and problems of time
Indices and problems of space
Indices and problems of characters
Indices and problems of relations
Indices and problems of development
Indices and problems of themes

13. Synopsis

14. Characterization First attempt to characterize the film
First basis for further observations

15. Characterize: fictionality
Fake/implausible
Fantasizing (Fabulating)
Didactic
True/plausible

16. The plastic bag

17. Characterize: fictionality
Fake/implausible
Fiction
Fantasizing (Fabulating)
Didactic
Nonfiction
True/plausible

18. Characterize: genre

19. Characterize: style
Style is content

20. Characterize: Style
Realism
Expressionism
Classicism

21. Characterize: ambition level
Conventional
Social/
cultural
Critical/exploring/personal
Conforming to the system
filmic
Complex/ modernizing

22. Characterize: context
Filmmakers:
Director
Producer
Most important crew members
Actors
Production and distribution
Historical/ geographical

23. 3. Asking the right question
Questions on the level of diegesis
Perception
Semiotics
Questions on the level of the film
Function of filmic means
Understanding how the film cues the spectator to understand the diegesis in a certain way
Questions on the level of the reception
What are effects on the spectator?
How does he understand the film?
What kind of emotions are evoked?
In what kind of aesthetic judgment does the film result?
in what kind of moral judgment does the film result?

24. Film as a dialogue Preface A. Introduction B. Filminterpretation
1. A film is a dialogue
B. Filminterpretation
I. Preliminary orientation
2. Acquaintance with the film
3. Asking questions
II. Time and space
4. Time
5. Space
III. Characters, Relations, development
6. Characters
7. Relations
8. Development
IV. Interpretation
9.Interpretation
C. References

25. Time Time in the diegesis Space of time of the film Interpreting time
Situating
Space of time of the film
Diegetic time compared to film time
segmentation
Interpreting time

26. Space Diegetic space: De filmic space
Construction
meaning
De filmic space
construction
Meaning
The relation between diegetic and filmic space
Interpretation of space

28. Film as a dialogue Preface A. Introduction B. Filminterpretation
1. A film is a dialogue
B. Filminterpretation
I. Preliminary orientation
2. Acquaintance with the film
3. Asking questions
II. Time and space
4. Time
5. Space
III. Characters, Relations, development
6. Characters
7. Relations
8. Development
IV. Interpretation
9.Interpretation
C. References

29. 7.characters 8.Relations 9.Development Diegesis Film Reception
appearance
Psychologic
social
Emotional relations
Social relations
- deeds
- acts
- evolutions
- events
Film
Construction
Design
Structure of engagement
construction
Semantic characters
Construction and design
Reception
Empathy, judgment
Taking sides in relations
Judgments on relations
Judgments about acts, empathy with certain characters.
Judgment about certain choices from the filmmaker, empathy with filmmaker

30. Film as a dialogue Preface A. Introduction B. Filminterpretation
1. A film is a dialogue
B. Filminterpretation
I. Preliminary orientation
2. Acquaintance with the film
3. Asking questions
II. Time and space
4. Time
5. Space
III. Characters, Relations, development
6. Characters
7. Relations
8. Development
IV. Interpretation
9.Interpretation
C. References

31. Final interpretation Thematic analysis Characterization
Using indices as starting point
Characterization
Retaking the earlier characterization and now drawing clearer conclusions

32. Characterize: context and position
Filmmakers:
Position within their own oeuvre
Historical, geographical
Influences
Position within political debate
Position within film history
Nachleben
Changes in meaning of the film