Yet the original concern of Neo-Brechtianism – that of the encouragement of what I will call ‘reflective spectatorship’ – is still of central importance. Neo-Brechtian positions on the emotional and ideological effects of screen stories have come under criticism. So can the calls for emotional estrangement and narrative intransitivity as narrative strategies that might elicit a critical, politically savvy spectatorship. Worries about the mystifying effects of identification and immersion can be traced in part to Brecht. Neo-Brechtian theory has been influential in this regard, as many of Brecht’s theories regarding the epic theatre were incorporated into film theory in the 1970s, just as the field was being formalised as an academic discipline. One enduring concern of film theory has been the question of what film structures and styles encourage critical, reflective, and active spectatorship.
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