Film Studies is an academic discipline focused on the critical appreciation of cinema as an art form as well as its role in, and impact on, culture and society. Some cinema theorists argue that its primary purpose is to understand how best to look at films and understand their meaning. The discipline forms part of the larger subject areas of media studies and cultural studies. The discipline is relatively new, its origins as a systematic body of thought dating back to the latter half of the twentieth century.
The discipline is a relatively new one dating back to the second half of the twentieth century. The growth of cinema studies as a discipline following the end of World War II has spawned a number of academic peer-reviewed journals. Examples include the influential British journal Screen, Cinema Journal and the Journal of Film and Video.
Graduates of cinema studies generally pursue a career in non-technical fields such as film criticism, journalism and media analysis. They also select the subject as a non-major component of programs of study focused on the technical aspects of filmmaking.
Given the dominance of Hollywood movie commercialism in shaping popular culture, the strong influence of European and other countries on movie production and theory may surprise many people. For example, the Moscow Film School established in 1919 was the first school focused on cinema anywhere in the world.
Similarly, the first serious cinema theorist is widely acknowledged to be Frenchman Andre Bazin (1918-1958). He started writing on the subject in 1943, during the World War II, and was a co-founder of the prominent magazine Cahiers du cinema in 1951 (together with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca). His writings remain a major force in cinema theory and criticism today.
Perhaps the most controversial of all of the views of Bazin on cinema was his support for appreciative criticism alone. He believed that only critics that liked a movie had a legitimate basis to review and assess it. Clearly this is a restrictive stance. It is also an extreme view all the more so since Bazin was himself a prominent critic.
Bazin also favored films that presented an objective reality rather than indulging in blatant fake manipulations of reality. He supported documentaries and films crafted on the lines of Italian neorealism. From a technical viewpoint, he encouraged directors to render themselves invisible in their films; he supported advocated deep focus shots and wide shots; he discouraged adding meaning through montage favoring instead continuity via mise en scene.
Not all Bazin views are supported by contemporary film studies scholars. He is nonetheless celebrated as an original thinker of his time. Francois Truffaut dedicated his The 400 Blows to Bazin who, coincidentally, died only one day after shooting for the movie started.
Tarintino had to start somewhere. Film school can open the door to a lucrative and enjoyable career. The industry requires hard work and long hours so get started at a Canadian Art Institute. If film does not interest you then try taking web design courses or photography courses.
