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The Art Behind The Analysis of Films
Odalis Rojo
UC Santa Barbara
Author’s Note:
This paper was prepared for Writing 2, taught by Mrs. Johnson.
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Abstract
The purpose of this research is to understand the different literary practices that my class consists
of and how it makes the class unique in comparison to more traditional subjects. I was able to
gather this information from my Intro to Cinema class through observations, interviews, and
scholarly articles. All three of these methods provide evidence to the prominent literary practices
of my Intro to Cinema class being intertextuality, context, and the ability to apply academic film
vocabulary to practical film analysis.
Keywords : film, conventions
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The Art Behind The Analysis of Films
Films have been around since the late 19th century, but the academic analysis of them is a
fairly recent area of study. It is also one of the least traditional academic subjects due to its visual
and creative nature. Due to its newness, it borrows literary practices from already established
disciplines like literary analysis because even though they are different mediums, they both focus
on storytelling and the way in which it occurs. The practices adapted from literature analysis
provide the biggest contribution to the area of film analysis that we use in my Intro to Cinema
class. In my class there are three literary practices that I have determined are essential for
conducting film analysis in an academic setting: intertextuality, context, and the ability to apply
an academic film vocabulary to practical film analysis.
Intertextuality is one of the most essential literary practices when it comes to film
analysis. Through my inclass observations, I have noticed a pattern of the professor advising us
to listen and look closely to certain scenes in the films she screens in class. For example, in class
the professor screened the movie Children of Men and told us to pay attention to how many times
a character said “Jesus Christ” in reaction to the pregnant protagonist. She later explained that
this was an allusion to the Bible due to the protagonist being the only person who is capable of
pregnancy during this time, suggesting that her baby will be savior. The film Children of Men
makes references to the Bible, and in understanding the intertextuality, analysts can then
understand the meaning behind the entire film as well as dialogue. Similarly, in “Dancin’ in the
Rain”, Carol J. Glover discussed the intertextuality in the film Singin’ in the Rain where she
writes, “ Singin' in the Rain is of course set in 1927, and in it, The Jazz Singer is mentioned
repeatedly as the competition… Indeed, insofar as Singin' in the Rain claims to show the
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originary moment not just of the sound movie but of dubbing and the musical…” (Clover, 1995).
The first fulllength talkie being The Jazz Singer is the reason the characters in Singin’ in the
Rain decided to switch from making silent films to talkies in order to imitate its success, which is
the main plot point. The Jazz Singer is referenced by name and also imitated in different scenes
as a way of paying homage to the film that changed film. Without knowing about The Jazz
Singer, the audience would not be able to understand why Singin’ in the Rain ’s plot happens nor
would they understand the references to the first fulllength talkie. Therefore, intertextuality is
necessary for the audience to understand references to other works in a film and to understand
how those references contribute to a film. Without being able to understand the intertextuality in
a film, the film’s meaning may be lost.
Another important practice of film analysis is context. In Travis Malone’s “Utopia,
Nostalgia, Grease: How a Film Can Create a Stage Legacy” he stated the following:
By staying in the fictional high school, Americans (primarily white Americans) did not
encounter the Vietnam War, the Civil Rights Movement, second wave Feminism, and
Gay Pride… audiences could forget about the realities of the 1970s and leave humming
the tunes of forgetfulness. (Malone, 2010)
Malone argued that Grease ’s nostalgic tone is due to the context of the 1970’s, which was when
the film was released. Because so many catastrophic things, like the Vietnam War, were
happening in the real world, the portrayal of petty teen drama and musical numbers were able to
take the audience back to a simpler time. According to my Intro to Cinema teaching assistant,
Hannah Garibaldi:
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The importance, I think, of studying film in an academic setting is that… it’s a really
useful and important lens by which to look at how culture works and how culture
functions… It’s also important to look at those films as they’re emblematic of the period
in which they’re made and the themes brought up in different historical moments...
(Garibaldi, 2019)
When analyzing films, one might find that ideologies and current events of different time periods
bleed into films whether they mean to or not, which can create an impact on society and how
society views certain issues. The knowledge of the film’s context leads the analyst to decipher
the different intentional and unintentional social commentary it has made and to consider the
way that social commentary may affect the film’s audience.
Yet, what I deem most important literary practice to film analysis would be the ability to
apply an academic film vocabulary to practical film analysis. In class, the professor always tells
us to look closely at certain scenes, and our job is to analyze the scenes in order to figure out
what we are looking at, the effect it creates, and why the effect is important. We wouldn’t be able
to do this without having a film vocabulary already, and this vocabulary is provided by our
textbook. The ability to use and know the meaning of the vocabulary from the book allows us to
make technically correct analyses of the films we watch in class. For example, if a student is
talking about having an object becoming closer to the camera they must know whether it zooms
in, enlarging what is in shot without moving position, or if it tracks in, moving the camera in
order to become closer with what is in frame. If not equipped with this vocabulary, the student
may end up having an incorrect analysis or an analysis that would be difficult to understand
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when read by others in the film community like the professor or T.A; having a common
“language” allows for clarity in analysis. Garibaldi added to this argument by stating:
The first step is knowing the basics of what those things are like backlighting,
miseenscene, knowing what it is… the next step is being able to pick apart a film and
analyze the film for those components and see what they help elicit. Trying to think about
what kind of effect the filmmakers are going for through these different devices…
(Garibaldi, 2019)
Knowing the academic side of film is essential to being able to analyze a film; you cannot have
one without the other. If you don’t know the academic side of film, you will not be able to create
a proper analysis because you will not know what you are looking at or hearing. The ability to
take the academic knowledge of film and use it correctly is key to create an understandable and
accurate analysis.
Without these three literary practices, film analysis would be an extremely difficult
practice. Intertextuality and context allow the analyst to understand references to other works and
events as well as the way they contribute to the meaning of the film. The ability to use an
academic film vocabulary for practical film analysis allows for a common “language”, which
makes film analysis better to understand and articulate. A lack of these three literary practices
would lead to a misunderstanding of what you are watching and what you are trying to say.
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References
Clover, C. J. (1995). Dancin’ in the Rain. Critical Inquiry, 21 (4), 722747. doi:10.1086/448772
Garibaldi, H. (2019, May 1). Film 46 T.A. Interview [Personal interview].
Malone, T. (2010). Utopia, nostalgia, Grease: How a film can create a stage legacy. Theatre
Annual, 63 , 4562. Retrieved from
https://search.proquest.com/docview/857283284?accountid=14522