I. Approaches of Structuralism Used to Analyse Cinematic Representation
The structural means of analysing cinematic representation has been part and parcel of critical commentary of films old and new. According to the work of (2002), spearheaded this critical methodology which allowed him to take on “systematic analysis of generic conventions.” further indicated that the use of such critical methodology allows for a more “logical” way of analysing film genre because it bases its criticisms on conventions shared within the said genre as opposed to the individual works. () More popularly indicated in the literature of critical methodology indicates the use of several approaches in analysing cinematic representation using the structuralist theory. These include filmic codes, symbolism, binary opposition, and ideology.
A. Filmic codes
The use of the structuralist method in analysing cinematic representation often uses filmic codes. In a study made by (2006) they defined filmic codes as the major conduit to which films convey their “symbolic expression.” This means that the codes that constitute the film essentially encompass the analysis of the cinematic representation. Thus, the dynamic visual and audio allows these filmic codes to route the cognitive processes of the film. This means of communicating the knowledge that the film want to convey makes the use of filmic codes rather powerful to some extent.
In a study of (2005), she employed filmic conventions and codes to analyse a Philippine film made in the 1950s. The study made use of such codes and conventions to present the concept of “ethnic difference” of the said country in the said period. The study well parallels the use of these filmic codes and conventions to the existing social realities present in the Philippines particularly with reference to the context of “otherness.”
In another study, (2002) pointed out her observation of Australian cinema particularly on the use of filmic codes. Specifically, the study relates that the use of historical representation in conjunction with these filmic codes is seen as an allusion of reality. This indicates that using filmic codes may well represent inexact suggestion among films on what is actually taking place in a particular social order.
B. Symbolism
Another element emerging from the structuralist theory is symbolism. In the study of (1997) she noted that symbolism often double as a tool to “anesthetise” the emotional effects of a particular scene of the film. She also indicated that using such elements such as symbolism tends to reflect the need to provide an epic divide between “myths of authenticity and the need for heightened representations based on the reality of desire.” () This highlights the importance of noting symbolism on the analysis of cinematic representations on films. To some extent, as stated in the observations of (1997), it represents the need to emphasise what is real and what could be. This means that uncovering the meaning of such symbolisms essentially interpret the gaping chasm between the authentic and the desired.
On another study, (1997) provided an analysis on the film Dances with Wolves using the symbolisms of identity and culture. To a certain extent, the study’s conclusions affirm the claims of (1997) with reference to using symbolism to present the authentic and the desired. In the said movie, (1997) indicated that the representations may well have provided a more exuberant retelling of the story. In a way (1997) claimed that this may well be the case given the luxury of the film having a “safe historical distance.”
Other less formal articles also pointed to symbolism to establish the subconscious realities in foreign cultures. To illustrate, the article of (1998) tackled the symbolic interpretations of the film icon Godzilla in the original Japanese productions in the 1950s. In a sense, the symbolisms of the movies pertaining to the “mysterious creature” tend to reflect the changes and transformations that took place in the Japanese milieu. In the same note, the article similarly noted the symbolisms regarding the personalities and characters aside from the creature towards the contexts of the “family structure, values, and responsibilities” prevalent in the Japanese society.
C. Binary opposition
The concept of binary opposition tends to reflect the dualism in films. This is primarily seen in scenes pertaining to images of the “die-hard urban, white lower-middle class” and the “newer forms of suburban domicility” in films. (1998) These cinematic representations refer visually presents what is often regarded in structuralist theory as the underlying element that influences the surface of the film. (1997)
D. Ideology
In the work of (1995) they used Althusser’s definition of ideology indicating that it is “system of representation existing and having a historical role within a given society.” Thus, in following this logic, critics tend to deem films as a means of creating social identity with the spectators as the “social subjects” of this process. ()
II. Application of Psychoanalysis in Film Studies
The use of psychoanalyses in film has taken several forms through the years. More particularly, studies and critiques on films and genres in general tend to employ psychoanalytic techniques in gauging the elements present in cinematic representations. One example would be the study made by (2001) using psychoanalytic method in reviewing the movie Being John Malkovich. Specifically, the article presents an analysis on the use of psychoanalysis in the film. The author described the film as a “comic, self-reflexive expose of the processes of its own production and reception” based on the representations of the movie. () In the same way, he uses both Fruedian and Lacanian psychoanalytic theories in the narratives provided for in the said movie.
Another study which used psychoanalytic measures is presented in the work of (1995). In this study, the masculinity in Greek cinema is observed. Looking at this work, it is more of an analysis of the entire genre of Greek films in 1960s using both Freudian and Lacanian theories of measuring masculinity. The author indicated that “Greece is positioned in the in-between zone” where it veers away from the accepted American formula of male dominance in films.
On another plane, (1997) made an analysis of a collection of Bollywood films analysing how women is empowered in the Indian cinema. In this study, the author indicated that the empowerment of women in Indian cinema tends to be rather formulaic depictions of “attending representational struggles around femininity, violence and the State.” () The analysis tends to center on the representations of love which is normally depicted on “a song and dance sequence” and other repressed psychological images like “fetished objects.” All in all the study mainly uncovered the social construct which women are subjected to in the Indian setting.
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