[Đọc bài viết bằng tiếng Việt tại đây]

Though my major was not film studies, watching movies has always nourished my mind and soul, enriching my perspectives on life. One day, I decided to enroll in a short film studies course. This post recites my insights from that course as well as learnings picked up along my journey exploring the art of cinema.

The Shift from a Viewer to an Analyst

There is a significant difference between enjoying a film as a regular viewer and engaging in in-depth analysis and critique. To evaluate a cinematic work, one must consider its technical aspects—visuals, sounds, lighting, shots, editing, mise-en-scène, and more. In short, it is about understanding the cinematic language expressed in the film. This also requires a foundational knowledge of cinema, culture, and society. Such knowledge is crucial for adding distinctive, personal elements to a film analysis or review, showcasing the analyst’s insights, and, to some extent, expanding the audience’s own knowledge base.

Beyond analyzing the film itself, comparing it with other works is an excellent way to highlight its value in relation to similar productions. This also demonstrates a deep understanding of cinema. To master the art of comparing multiple films, consistent viewing and analysis are essential.

Constituents of a Cinematic Work

To begin, let’s look at two distinct components of a work: content (characters, structure/plot, theme/ideology) and cinematic language (visuals, sounds, film form).

A film’s cinematic language is primarily formed through its visuals, sounds, and film form. These are distinctive expressive media that give a cinematic work its communicative power and aesthetic appeal. For a film analysis to have depth and highly valued, the analyst needs to observe these elements.

In terms of content, while not a one-size-fits-all, the three-act structure is commonly used. In this structure, a “dramatic question” is posed at the end of Act 1, initiating the journey to find the answer throughout Act 2, and revealing the resolution in Act 3. The moment the dramatic question arises in Act 1 is also called the “inciting incident,” motivating the audience to continue watching and fostering empathy and support for the protagonist during Act 2. This question is often designed as a binary choice (also known as a win/lose or yes/no question) to set a clear purpose for the journey. However, to create unexpected outcomes or twists, the answer to the dramatic question might be a third option—one that addresses the question but incorporates elements beyond the audience’s prediction.

Regarding theme/ideology, this is considered the “red thread” weaving through the entire work, ensuring coherence and focus. Metaphorically, it is the bloodstream of the work; it might be subtle yet present everywhere to ensure the work’s vitality. Any scene that deviates from this flow can cause confusion or disconnect from the overall narrative.

Four Pillars of Film Analysis 

To gain a comprehensive understanding, beyond just watching and focusing solely on the film’s content, evaluating a cinematic work should be based on four pillars:

 * Cinematic language: Pay attention to visuals, sounds, and film form—the elements that create cinema’s distinctive expressive power

 * Understanding the relevant history, context, author’s style, the message, genre, and more

 * Interdisciplinary knowledge: Apply insights from various fields for in-depth and broad analysis

 * Personal perspective: Intergrate personal interpretations based on existing knowledge

How to Watch a Film for Analysis

To prepare for writing an analysis, the film viewing process can be divided into two (or more) viewings if needed:

First viewing:

 * Take notes: On character systems, plot, memorable lines or scenes, turning points, and identify key questions/protagonist’s mission

 * Ask yourself questions: Note anything that puzzles you while watching

 * Identify turning points

 * Pay attention to symbolic scenes/details/objects

Second viewing:

 * Confirm initial observations: Verify the accuracy of initial notes, assess whether initial questions have been satisfactorily answered, and determine if any situations remain unresolved—and whether this is intentional or a flaw in the film’s execution

 * Develop a basic outline: Select 2 or 3 key points for in-depth analysis

How to Develop a Personal Perspective

To develop a personal perspective in film analysis:

 * Select 2 or 3 main ideas after watching the film and interpret them using film knowledge

 * Expand on these ideas by discussing cinematic techniques, acting, dialogue, directorial style, or related elements such as architecture, painting, or fashion. You can also anticipate what will surprise readers, then weave that into your analysis for added appeal

 * When incorporating relevant knowledge from other disciplines, do so subtly and with depth. Avoid overtly flaunting expertise in that field, as it can detract from the article’s focus

Small Tips

 * Use cinematic terms such as: foreshadowing; exposition; time lock, close-up; wide shot; sequence; one-shot; long take…

 * Italicize film titles, accompanied by the production year in parentheses

 * Mention character names and include the actor’s or actress’ name in parentheses

References

 * A Short Guide to Writing About Film by Timothy Corrigan (Vietnamese edition Hướng dẫn viết về phim published by Nhã Nam)

 * What Is Cinema? by André Bazin

 * Film Form: Essays in Film Theory by Sergei Eisenstein

 * Cahiers du Cinéma magazine