Essay 1

Just like literary theory, film theory carries a variety of established approaches to examine films. Ideological approach considers the culture elements, worldview of people, and social values within a film, and thus can be interweaved with other theories, e.g. feminist theory and Marxist theory, to analyze one or more films for the visions created. On the other hand, formalist approach evaluates a film in and of itself, the mise-en-scene, editing, style, etc. This approach builds up an analysis of the film based on what is presented, as opposed to being mainly about the connections of the messages to the outside world. 

Argument: I believe that the formalist approach is more organic approach when compared to the ideological approach, since the analysis is built upon precisely what the director has chosen. We cannot know the intentions or beliefs of the scriptwriter or the director; but we could utilize the motifs, mise-en-scene, and other formal structures to create connections to support our interpretations. 

Claim One: In order to convey the (present) characters’ notions on nostalgia, Paris, and ideal way of life, Woody Allen uses not only dialogue but also standing positions to discuss the degree of openness and idealism in each character. This set up prepares us to explore an alternative world with Gil, and understand the present day events in which Inez, her parents, and her friends resist Paris

Example: For instance, after Inez blurts out that Gil works at a nostalgia shop, the screen is as follows: Gil on the distant left, Inez on the distant right, Paul’s back is toward us and Carol is close to Paul and Inez, but also in the distance. Paul asks the question, “so which era would you live in?” He is the largest character on screen. The positioning makes the audience feel that we’re watching and awaiting the response of three disciples – Gil and Inez are in the same group, and will defend their answer; and Carol doesn’t have anything to ask or attack so she doesn’t stand near Paul, nor is she on the team of Gil and Inez. Of course, later she is but a weak barrier to prevent Inez and Paul from having an affair. 

Claim Two: The styles of shooting the present Paris and past Paris idealizes the notion of migration, creating a fantasy for Gil and the audience. Alternatively, the present day Paris can either hold no charm to other characters, or be experienced vicariously and superficially.

Example: color of film stock, use of night time; day time signifying a clear mind and resistance to romantic ideas, and for a character like Inez’s dad, he is either inside in a restaurant or outside on a top floor. Carol often takes snapshots of her surroundings, but her photos are taken too quickly to argue that the act of photography is any more than a lie, some proof that she is experiencing Paris.

Support: Braudy, The Apparatus – what is presented in front of us, whether real or not

Claim Three: The motif of rain in this film signifies a vision attached to disillusionment, which is the underlying theme in the film.

Example: when Gil raves about Paris in the beginning, it’s because he doesn’t want to live in America anymore.