Structuralist film theory is a branch of
film theory
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for und ...
that is rooted in
structuralism
In sociology, anthropology, archaeology, history, philosophy, and linguistics, structuralism is a general theory of culture and methodology that implies that elements of human culture must be understood by way of their relationship to a broader ...
, itself based on
structural linguistics
Structural linguistics, or structuralism, in linguistics, denotes schools or theories in which language is conceived as a self-contained, self-regulating Semiotics, semiotic system whose elements are defined by their relationship to other element ...
.
Overview
Structuralist film theory emphasizes how
film
A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere ...
s convey
meaning through the use of
code
In communications and information processing, code is a system of rules to convert information—such as a letter, word, sound, image, or gesture—into another form, sometimes shortened or secret, for communication through a communication ...
s and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect. In other words, the site of the study (the film) is moving in time and must be analyzed in a framework which can consider its temporality. To that end, structuralist film theory is dependent on a new kind of
sign
A sign is an object, quality, event, or entity whose presence or occurrence indicates the probable presence or occurrence of something else. A natural sign bears a causal relation to its object—for instance, thunder is a sign of storm, or me ...
, first proposed by the
Prague linguistic circle
The Prague school or Prague linguistic circle is a language and literature society. It started in 1926 as a group of linguists, philologists and literary critics in Prague. Its proponents developed methods of structuralist literary analysis an ...
, dubbed the
ostensive sign.
[Sternagel, Jörg, Deborah Levitt, Dieter Mersch, and Lesley Stern. ''Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings'', 2012. p. 307.]
An example of this is understanding how the simple combination of shots can create an additional idea: the blank expression on a person's face, an appetizing meal, and then back to the person's face. While nothing in this sequence literally expresses hunger—or desire—the juxtaposition of the images convey that meaning to the audience. Unraveling this additional meaning can become quite complex. Lighting, angle, shot duration, juxtaposition, cultural context, and a wide array of other elements can actively reinforce or undermine a sequence's meaning. This is known as the
Kuleshov effect
The Kuleshov effect is a film editing (montage) effect demonstrated by Russian film-maker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a s ...
.
See also
*
Semiotic literary criticism
Semiotic literary criticism, also called literary semiotics, is the approach to literary criticism informed by the theory of signs or semiotics. Semiotics, tied closely to the structuralism pioneered by Ferdinand de Saussure, was extremely influent ...
*
Structural film
References
Film theory
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