Theorists might argue that film influences and reflects cultural presumptions and biases. Contemporary culture is saturated with visual information: film, photography, and video. I often think we are rarely conscious of how visual our world has become and how many snippets of narrative we come in contact with daily, through television, Facebook, YouTube, and Netflix. Film is artistically constructed narrative. When we go to the cinema, we expect to be thrilled by a fictional work. In theory, much film (other than documentary) does not purport to convey reality, whereas other visual media, such as news, video clips, and commercials are presumably based on reality. However, with advances in technology, much of what is produced for television and the Internet has become more cinematic. When our day is filled with moving, clamoring pictures, are we able to distinguish the real from the embellished? Can we learn the devices filmmakers use to create their effects? Can we understand their connection to history, philosophy, and politics? Film theory sheds some light on the connections between culture, the work, and the viewer.
A vivid film can enter our dreams, follow us into our day, and color our emotions and perceptions.
Film theory can help us be more conscious consumers of the experiences we seek in film, but it can also wake a more general tendency to ask why, what, and how when presented with any product of art or culture. As Nealon and Giroux convey in the first chapter of The Theory Toolbox, theory prompts us to ask questions about what we might otherwise accept as “natural” (5). Moreover, they write, theory invites us to think and act, not merely consume (5).
It’s natural to be swept away by the cinematic experience; this is certainly one of the joys of film. However, film can be a powerful conveyer of messages. It functions very similarly to our own minds and memories in its rich presentation of images and sounds, its emotive impact, and its manipulation of time and space. A vivid film can enter our dreams, follow us into our day, and color our emotions and perceptions. Today we have movies in 3D; tomorrow we will have virtual reality movies. It seems that critical thinking about film is becoming ever more important as film becomes ever more engulfing and enticing.
Postmodernist theorist Jean Baudrillard argued that signs now precede reality—technology has become so astute at simulation that it has replaced the real (“The Precession of Simulacra”). When I first read Baudrillard several years ago, I reflected on a tangible experience that supported his theory. Upon returning to America after 13 years of living abroad, I noticed that people had begun to speak to each other in sarcastic manner that was similar to the way Americans in sitcoms spoke. It seemed to me that they were imitating the imitation of their lives. Since then, I have assimilated, and it’s no longer noticeable to me, but the question sticks with me: how much of what we have become can be traced back to the media we consume?
Baudrillard, Jean. The Precession of Simulacra. The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. 2nd ed. New York: W.W. Norton & Co., 2010. 1556-1566. Print.
Nealon, Jeffrey T., and Susan Searls Giroux. The Theory Toolbox: Critical Concepts For The Humanities, Arts, And Social Sciences. n.p.: Lanham, Md. : Rowman & Littlefield Publishers, 2012. Print.