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At NYU there was a Dept. of Cinema Studies and a Dept. of Film & Television Production. By the mid-70s the theorizing of Screen magazine was taking center stage, and much of that theorizing was informed by linguistic models derived from Sassure, psychological interpretations from Lacan, structuralism, etc, and the jargon was the "suture"," le petit object a", the "gaze", etc., very different from substituting intellectual montage for Hollywood montage. I remember the enthusiasm for Noel Burch's article classifying Hollywood movies according to their formal challenges to the dominant ideology, where violation of the Hollywood representational codes constituted a critique. The other big article was Stephen Heath's piece on Touch of Evil in Screen. My point is that the movies were used as examples to prove the theoru rather than as investigative tools for understanding the movie. Richard Modiano On Thu, Aug 22, 2019 at 8:11 AM Jeffrey Masko <j.alan.ma...@gmail.com> wrote: > Good and bad news here, the bad news is as an academic subject, we do use > jargon - such as "intellectual montage" instead of "Hollywood montage" - > comes from theory, so yes jargon can still be used to mystify positions > taken on interpretation. One the other hand, we are a long way away from > the 70s; film study in no longer a humanities based project, but more > fruitfully finds its home in communication studies, especially mass comm, > among others. One of my mentors, Bill Nichols had read ALL film criticism > while at UCLA in the early 70s; now one could not read all of the > literature coming out in any given quarter, so quite a bit more going on > now than in the 70s. To me this is not a question of using theory, but > which ones and to what extent and purpose. > > > _________________________________________________________ Full posting guidelines at: http://www.marxmail.org/sub.htm Set your options at: https://lists.csbs.utah.edu/options/marxism/archive%40mail-archive.com
