tag:blogger.com,1999:blog-30690257.post2924036416042588490..comments2024-03-21T04:11:40.462-07:00Comments on Category D: A Film and Media Studies Blog: Are Themes Important?Chris Caglehttp://www.blogger.com/profile/11896423565458620046noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-30690257.post-73855602138665437232008-08-02T17:35:00.000-07:002008-08-02T17:35:00.000-07:00In defense of Ghostbusters, it could also be read ...In defense of Ghostbusters, it could also be read in Manny Farber's "termite art" fashion, with Bill Murray ironically standing to the side of the film's narrative and formal conventions, wryly commenting on what's unfolding. Except here, unlike in many of the films Farber celebrates, Murray's scene-chewing is an intentional part of the film's text; it's meant to be read that way. I don't know, interesting stuff.<BR/><BR/>I was drawn to this post because I find that, on my new blog, I am discussing themes more often than formal elements. I am doing so guiltily, as most of my favorite critics (from Cahiers to Kael) delve into the way a film feels over what it's about (or better yet, how it feels about what it's about) but it's definitely making me think about the relative importance of all these different elements in films - and film criticism.Joel Bockohttps://www.blogger.com/profile/11238338958380683893noreply@blogger.comtag:blogger.com,1999:blog-30690257.post-29639281436385901072008-06-26T12:37:00.000-07:002008-06-26T12:37:00.000-07:00Thanks for beefing up the post with some classical...Thanks for beefing up the post with some classical aesthetics! I will say that I'm never very conversant in the screenwriting is understood and practiced by those who actually write.<BR/><BR/>I guess I was trying to sidestep the entire narrative/spectacle dichotomy, Ghostbusters after all does have a decently developed action plot, despite the "frozen" moments. I suppose one could argue that spectacle leads filmmakers to ignore psychological development. We should remember, however, that classical films had their own spectacle, action, and generic pleasures (in films from Gone with the Wind to The Red Shoes to White Heat) while having a distinct theme.<BR/><BR/>For what it's worth, Wyatt's discussion of high concept films is not limited to spectacle films (e.g. Flashdance), and some on his list distinctly do have themes (e.g. Jaws). We, of course, don't have to confine ourselves to his definition, but it's a useful start.Chris Caglehttps://www.blogger.com/profile/11896423565458620046noreply@blogger.comtag:blogger.com,1999:blog-30690257.post-71179487208792771652008-06-26T08:39:00.000-07:002008-06-26T08:39:00.000-07:00GREAT post. The reason there is no theme in "Ghost...GREAT post. The reason there is no theme in "Ghostbusters" (and so many other high concept movies) is that these films re-order the importance of Aristotle's list from the Poetics. Spectacle, which Aristotle ranks the least important, is for most of these films now the most important element. That's what <I>defines</I> them as high concept. <BR/><BR/>Seeing the guys get slimed, seeing the enormous Stay-Puff Marshmellow Man terrorizing Manhattan, and so on.... the theme is "Doesn't this stuff look cool?"Anonymousnoreply@blogger.com