Film criticism is, like all criticism of human artifacts, a "many windowed house," i.e., it is open to a finite but incredibly varied array of approaches. One set of
approaches--that of Christian thought directed at film--has been rarely applied and with negligible results. The situation is not surprising when we remember that
the church has been slow to accept the film medium and even slower to develop an understanding of its functions and scope. The task of applying principles of
faith in the arena of film criticism is still in its infancy and no rigorous model for the application of Christian thought to this significant mass medium exists despite
the work of Butler (1969), Schrader (1972). Drew (1974). Rule (1977) and others. This project addresses the problem of Christian faith and film criticism within the
context of an introductory graduate level elective course in film criticism. Specifically, the project entails the development of a syllabus for such a course based on
the investigation and evaluation of the metaphor of spiritual journey as a Christian approach to film criticism. The latter merits further explanation.
Definition and Goals of Project
Film criticism is, like all criticism of human artifacts, a "many windowed house," i.e., it is open to a finite but incredibly varied array of approaches. One set of
approaches--that of Christian thought directed at film--has been rarely applied and with negligible results. The situation is not surprising when we remember that
the church has been slow to accept the film medium and even slower to develop an understanding of its functions and scope. The task of applying principles of
faith in the arena of film criticism is still in its infancy and no rigorous model for the application of Christian thought to this significant mass medium exists despite
the work of Butler (1969), Schrader (1972). Drew (1974). Rule (1977) and others. This project addresses the problem of Christian faith and film criticism within the
context of an introductory graduate level elective course in film criticism. Specifically, the project entails the development of a syllabus for such a course based on
the investigation and evaluation of the metaphor of spiritual journey as a Christian approach to film criticism. The latter merits further explanation.
One of the most pervasive symbols in religious literature, and perhaps the key central symbol in mystical literature, the journey symbol, has the ability to
compress and express many levels of meaning. Evert Cousins, editor of the twenty-five volume, World Spirituality: An Encyclopedic History of the Religious Quest,
introduces the journey symbol in this manner: "...it contains, as in a microcosm, the entire mystical life: not only the types of mystical consciousness, but the
process by which they are attained. The journey symbol appears in various forms: the ascent of the mountain, the crossing of a sea, a march through the dessert,
progressive entrance into the holy precincts of a temple, the climbing of a ladder from earth to heaven. The symbol's main purpose is to express the process of
spiritual growth through stages which were charted in the Middle Ages in a number of ways, chiefly as variations of the threefold path of purgation, illumination,
and union. The journey usually involves a call, a conversion, divine assistance and guidance, encounter with obstacles, and ultimate success" (Informational Letter
describing an NEH Seminar, Fall 1985, 1).
The journey metaphor is carefully discussed by George Roppen and Richard Sommer in Strangers and Pilgrims: An Essay on the Metaphor of Journey. New York:
Humanities, 1964. They call the journey the "metaphor of narration, of duration, extension, and purpose. Space and time operate in the metaphor under the control
of a single element, a purpose or teleological force" (preface, n.p.). [Greek teleos, complete, final.) Thus, the journey narrative does not mesh well with a
mechanistic or deterministic view of creation or human destiny. Rather, it amplifies the view that natural processes or occurrences reflect an overall plan or
purpose where human decisions have real consequences. It is not surprising that the journey metaphor is ubiquitous in Christian thought.
My notion is that the journey metaphor is an apt beginning for a Christian response to cinema, largely because of its easy connection to Christian theology, but
also because a surprising number of historical and contemporary secular films lend themselves to analysis employing the metaphor. For the workshop project I
have developed the structure of a film criticism course using the journey metaphor as its essential philosophical and practical grounding. What follows is the
presentation of the syllabus and a discussion of some of the choices of approach and materials in the syllabus.
Syllabus
FLM 500 Course Syllabus
Title of Course: Film Criticism
Credit: Four Hours
Prepared by Michael P. Graves
Spring, 1990
"The cinema is a weather vane pointing to the postulates and lifestyles which surround and subsume us all, even though most of us most of the time are oblivious
to them…cinema--linked with but stronger in its influence and more forceful in its thrust than TV--is, I believe, leading today's cultural consensus." [Donald Drew,
Images of Man: A Critique of the Contemporary Cinemas]
I. Description of the Course
Catalog Description: "Study of the phenomenon of film with emphasis on how to read, interpret, critique, and appreciate films. Includes special investigation into
the rhetorical and sermonic aspects of cinema."
An Elaboration: The course is intended to provoke and build upon a response to cinema that is primarily analytical and philosophical (rather than a response that is
essentially "popular"-i.e., emotional or focused on a film's entertainment value alone) through screening and intense group and personal examination of films to
discover, talk about and write about their explicit or inherent perspectives with regard to the meaning(s) of the human journey.
Objectives of the Course
After completing the course you should be able to:
Analyze films for the interrelatedness of their technical and thematic content and report that analysis both orally and in writing.
Discuss films both orally and in writing from the perspective of their internal artistic" integrity (or lack thereof) and arguable reflections of and effects on human
experience.
Discuss both orally and in writing the differences between a film review and a film critique and compose each kind of document.
Discuss the major schools of (or approaches to) film criticism both orally and in writing.
II. Course Requirements
The following assignments/activities are seen by me as means by which the course objectives can be realized:
A. In order to pass the course and to get the maximum benefit from it, you will prepare for and attend class sessions. It is crucial in my mind that you both be in
class when we meet and be prepared to participate in discussion. My assumptions are that attendance and preparation are closely linked to positive attitude
toward the subject matter of the class, and that an active approach is positively correlated to learning and is a contributing factor toward the integration of theory
and practice (as well as learning and faith). An absence deprives you of potentially valuable integrative experiences and indicates to me (correctly or incorrectly)
that the class is not important to you. In addition, your absence means that the rest of the class will lose potentially valuable input from interaction with you.
B. In order to pass the course you must prepare a Film Review of a current theatrical film suitable in length, style and content for publication in a popular
magazine or newspaper. The review will be due the beginning of the class period on March 21st.
C. In order to pass the course you must prepare a term paper (a Film Criticism) on a topic arising from an analysis and critique of a film not shown in
class. The topic and film must be approved by me. You must scrupulously follow the MLA Handbook, third edition, or another approved style manual, for matters
of format and style. The paper must be a minimum of ten typed pages in length, not including endnotes and bibliography. It is also important to remember that the
term paper research will form the basis of in oral presentation (described below). Thus it is advisable to choose a film for study which is available in your own
collection or which can be rented easily for your own study needs as well as for possible illustrative material for your oral presentation.
The paper will be turned in twice for evaluation and response from me and a selection of fellow FLM 500 students. Accordingly, when you turn in the first and final
drafts, please bring two extra copies of your paper for distribution to other students in the class. Both drafts will be evaluated, but only the final draft will be graded.
A word to the wise: never turn in a paper without retaining a copy of your own on computer disk or as hard copy.
I will evaluate and grade the papers using the following criteria: (1) legibility and neatness, (2) clarity of thought and organization, (3) validity of argument, (4)
accuracy of evidence, (5) vitality and accuracy of writing style, and (6) adherence to other standards stated above.
A preliminary project statement describing your term paper project must be turned in to me at the beginning of class on March 14th. A finished first draft of the
paper must be handed in by the beginning of class on April 11th. Final drafts are due by the beginning of class on May 9th. Late final papers will be assessed a
penalty. Unwarranted late first drafts will count against the final grade in the class (see note below).
It should be apparent that the term paper project is a key element of the class. The process should not be taken lightly. From time to time, and only when
appropriate to the class discussion, you may be asked to share portions of your papers orally with the entire class and handle questions and comments on the
ideas you have presented.
D. You will prepare a fifteen minute oral presentation of the material in your term paper. The presentation will be semi-formal, may include film clips (where
appropriate), and may include up to a five minute question and/or comment session with the class audience, Standard rhetorical practice for extemporaneous
speaking will be followed and in no case may you simply read your paper to us. Thus, presentations are to be considered semi-formal public presentations (or
"speeches"); they are to be practiced ahead of time; they are to exhibit the skills of oral rhetoric. I will evaluate the presentations using the following criteria: (1)
integrity of ideas presented, (2) clarity of organization, (3) appropriateness of language, (4) apparent preparation, and (5) communicativeness of delivery. No more
than five minutes of the presentation may be taken up with film clips. Oral reports will increase in length if class size allows. Oral presentations will occur on May
2nd and May 9th.
E. In order to demonstrate understanding and application of text and lecture /discussion material, you will participate in two examinations covering materials
assigned in texts and covered in class. The examinations will take place on March 28th and May 9th. Each examination will involve two parts: (1) a take home
essay portion which will be handed out a week prior to the night of the examination (due at the beginning of the examination period), and (2) a one hour in-class
which will partially involve a response to a film viewed in class.
F. I reserve the right to modify assignments or add assignments as a response to class needs.
IV. Grading Procedure
Evaluation is a continuous process. Evaluation of your improvement and progress takes place throughout the quarter. Class participation, written work, oral
presentation and examinations will be evaluated as far as possible according to criteria revealed to you ahead of time. You will be informed of perceived
weaknesses and strengths by way of comments, written and oral prior to "grading" on written work. Please know that comments and grades are not intended as
judgments of you as a person, but rather as informed, intelligent responses regarding a perception of your understanding of the concepts on which the class
focuses and your use of the skills on which the assignments depend. Evaluations and grades (or other matters regarding the class, or "other matters" in general)
may be discussed with me during my posted open office hours, or by appointment. I rarely bite except when cornered.
Assignments in relation to grades (weighting) will adhere to the following guidelines:
Film Review
15%
Examinations
35%
Oral Presentation
15%
Film Criticism
35%
100%
Attendance and participation will weigh for or against the final grade and may raise or lower it to a cumulative 10% of the grade for the course. Punctuality will be
taken into account on individual assignment grades.
V. Standards of the Course
A. Your work must be original. It must reflect careful preparation. These standards require the point of view and thought structure of your work to be your own and
not those of someone else unless specific indebtedness is acknowledged by written and oral mention of sources used. Very close adherence to the content and
arrangement of a single article or speech, as occurs in paraphrase, precis, condensation or digest, will be regarded as plagiarism and sufficient cause for failure in
the assignment.
B. Ideas presented in writing or orally in class should be worthy of the time and attention of the class. They should be graduate-level material, aspects of ideas
which intelligent persons of the past and present have pondered and are still pondering.
C. Assignments are expected to be submitted on time. The date due is part of the assignment. Late work will be graded lower.
VI. Texts
Bywater, T. & Sobchack, T. (1989). An introduction to film criticism: Major critical approaches to narrative film. New York: Longman.
Corrigan, T. (1989). A short guide to writing about film. Glenview, IL: Scott, Foresman.
In addition, the following background books on the craft and language of film and film criticism are recommended supplemental reading:
Boggs, J. M. (1985). The art of watching films (2nd ed.). Palo Alto: Mayfield Publishing Company. A good comprehensive introductory film book, noteworthy
because of the analytical framework the author develops employing lists of questions, many of which you would find useful in helping you discover meaningful
modes of film analysis in your writing projects.
Drew, D. (1974). Images of man: A critique of the contemporary cinema. Downers Grove: InterVarsity. Now unfortunately out of print, this is a fine examination of
major films up to the early 1970's in light of their view of man's meaning. If you can find a used copy, buy it.
Foss, S. K. (1989). Rhetorical criticism: Exploration and practice. Prospect Heights, IL: Waveland. This is an excellent introduction to the critical process which can
be applied to a number of media including film. Particularly strong on the merits of feminist and Burkean critical perspectives.
Mast, G., & Cohen, M. (Eds.). (1985). Film theory and criticism: Introductory readings (3rd ed.). New York: Oxford UP. This is "the weighty tome" of film theory and
criticism. It includes most of the classic, "must read" essays noted so often in your required texts.
VII. Course Content and Procedure
Our procedure will be deceptively simple: we will screen films and discuss them with intensity. We will pursue lines of thought and analysis that seem to be
appropriate. Our method will be both speculative and empirical. Generally, we will not read analyses of the films we view ahead of time, although we probably will
have occasion to refer to reviews and analyses of the films after our preliminary responses. Every caution will be exercised to avoid the worst forms of scholarly
parochialism and prejudice. We will attempt to effect a class atmosphere where all commentary is treated as at least potentially illuminating. In reality, the content
of the course is the method.
In addition to film screenings and critical discussions, we will read and discuss film criticism and essays about film criticism.
The films are chosen in light of the course objectives and in some cases could not be characterized as broadly "popular" films. Some of the films contain language
and images that, in the language of the ubiquitous TV warning, "viewers may find offensive."
*******
Screening and Reading Schedule
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Feb. 28: "A Christmas Carol" and "It's a Wonderful Life."
Read: Bywater/Sobchack Chapter 1; Corrigan Chapter 1; David Desser, "Transcendental Style in Tender Mercies," Religious Communication Today
8 (1983): 28- 33.
March 7: "Tender Mercies."
Read: Bywater/Sobchack Chapter 2; Corrigan Chapter 2.
March 14: "The Trip to Bountiful."
Read: Bywater/Sobchack Chapter 3; Corrigan Chapter 3,
Project statements due [for film criticism paper].
March 21: "Sergeant York."
Film reviews due.
Review for examination.
March 28: "Les Misérables."
Examination. [one hour]
Read: Bywater/Sobchack Chapter 4; Corrigan Chapter 4.
April 4: "One Day in the Life of Ivan Denisovich."
Read: Bywater/Sobchack Chapter 5; Corrigan Chapter 3.
April 11: "Shadowlands."
First drafts of criticism paper due.
Read: Bywater/Sobchack Chapter 6; Corrigan Chapter 6.
April 14-22: Spring Break.
April 25:"La Strada."
Read: Bywater/Sobchack Chapter 7; Corrigan Chapter 7.
May 2: "Wild Strawberries.
Oral Reports.
May 9:"Indiana Jones and the Last Crusade."
Final draft of criticism paper due.
Oral reports.
Final Examination. [one hour]
VII. Discussion of Syllabus
The syllabus vas structured for use in the lowest numbered course in the film curriculum at Regent University. I am convinced the syllabus would also serve the
needs of senior level undergraduate students with little or no changes. The structure of syllabi vary from institution to institution and professor to professor, thus I
do not intend here to provide a rationale for why I structured the syllabus in its present form, though the reader may take note that I construct course objectives in
terms of behaviors and stipulate pretty carefully what standards I will employ in the difficult process of grading. This project, however, does not directly concern
these matters of pedagogy. Instead, it focuses on the use of the concept and language of the spiritual journey applied to analysis of films.
The application of the spiritual journey to film criticism is not spelled out in the syllabus, thus further comment may be helpful. I begin the course with lecture
material on the journey which I have included here in the appendix. As each film is viewed, I encourage discussion of the film along a number of lines suggested
by standard approaches to film analysis (structuralist, feminist, Jungian. etc.), but also include analysis by means of the journey apparatus I set up in one of the
opening lectures. Obviously, the films have been chosen because they deal with the human journey, either literally or figuratively, but I am concerned that students
also see that the journey approach is not the sole analytical tool that will provide insight into the films. I have also included in the appendix some sample analysis
sheets I employ to guide student discussion following screenings of individual films.
Films chosen for the course were drawn from a longer list of films with figurative or literal journeys as essential features. The longer list would include such films as
"The Seventh Seal," "Diary of a Country Priest," "I heard the Owl Call My Name," "Jean de Florette," "Manon of the Springs," "Babette's Feast" "On Valentine's
Day," "1919" and "Brother Sun, Sister Moon," to name several. Perhaps an explanation of the final film list, film by film, will help the reader understand the
rationale for the course's filmic content.
"A Christmas Carol" (Alistair Sim version) and "It's a Wonderful Life" (Capra): These films were paired because they can be viewed in one evening session and
compared with regard to the process of redemption portrayed in each film. They are enjoyable films, not heavy in content, and offer fairly concrete structures with
which to introduce the concepts of spiritual journey. Both films use what Schraeder calls "abundant means," or the direct depiction of the spiritual realm (ghosts
and angel). The films are comparable on other grounds, including: (1) the fact that both films represent the golden age of filmmaking (pre-television), and (2) the
fact that the plot lines have been compared-Capra's film has been called his Christmas Carol.
"Tender Mercies": I use this film to illustrate the other side of Schraeder's poles, "sparse means." It also portrays several of the concepts of the spiritual journey
better than any other film: the helpers, the via negativa, the trial, the ascent, union (marriage). It also opens for class discussion the work of Horton Foote, one of
the best American writers of screenplays.
"The Trip to Bountiful": Another beautifully crafted Horton Foote screenplay (from his 1950's Broadway play), chosen for several reasons, among them that the film
depicts a literal journey with spiritual, social and psychological ramifications. The balance of via negativa and via affirmativa is highlighted here as is the role played
by helpers.
"Sergeant York": This film illustrates how spiritual journey terms and concepts also apply to the fictive representation of an actual person. Most of the attributes of
journey analysis are present. The "conversion" scene is probably the best example of "abundant means" in all of film literature.
"Les Misérables": The version chosen of this often filmed story is the made for TV film with Anthony Perkins in the role of Javert. The story is captivating,
monumental in scope, and invites analysis by means of the spiritual journey language. I use the film for analysis in the context of a mid term examination. Because
the film and television media are becoming entwined to the point where many experts are predicting their eventual unity, I include in the film list two made for
television films, the other being "Shadowlands."
"One Day in the Life of Ivan Denisovich": This overlooked masterpiece captures the via negativa of the original work with carefully planned and subtle filmic
technique.
"Shadowlands": This film is Norman Stone's depiction of C.S. Lewis's relationship with Joy Davidman, her illness, death, and Lewis's "Dark Night of the Soul," of
which he wrote in A Grief Observed.
"La Strada": Literally, "the road," the most brutal dipiction of the literal journey on the film list, but the most subtle depiction of the spiritual journey metahpor.
Students have to "build up" to this film. In another course, I foolishly placed this film on the first evening, the result being that students saw only existential grief in
the film.
"Wild Strawberries": My favorite Bergman film, it portrays both a literal and figurative journey and suggests comparison with several films already viewed,
especially the first four on the list.
"Indiana Jones and the Last Crusade": In fact, I did not use this film in the course. It was originally intended as illustration of the "quest" motif, a role which it serves
quite nicely. However, I decided to use a film which most of the members of the class had not seen and which offered more challenge with regard to the
application of the notion of the spiritual journey. Therefore, I substituted for the final film in class, and the film used as the centerpiece for analysis in the class final
examination, "My Dinner with André," a film about a two-hour conversation between friends, rich in subtle implications about the spiritual journey.
FLM 500 Film Criticism
Notes on the Journey in Film
Prepared by Michael P. Graves © 1990
The Journey as Symbol
I. Introduction:
The journey symbol, one of the most pervasive symbols in religious literature, and perhaps the key central symbol in Christian mystical literature, has the ability
to compress and express many levels of meaning. Ewert Cousins, editor of the twenty-five volume, World Spirituality: An Encyclopedic History of the Religious
Quest, introduces the journey symbol in this manner:
... it contains, as in a microcosm, the entire mystical life: not only the types of mystical consciousness, but the process by which they are attained. The journey
symbol appears in various forms: the ascent of the mountain, the crossing of a sea, a march through the desert, progressive entrance into the holy precincts of a
temple, the climbing of a ladder from earth to heaven. The symbol's main purpose is to express the process of spiritual growth through stages which were charted
in the Middle Ages in a number of ways, chiefly as variations of the threefold path of purgation, illumination, and union. The journey usually involves a call, a
conversion, divine assistance and guidance, encounter with obstacles, and ultimate success ( Informational Letter describing an NEH Seminar, Fall 1985, 1 ).
The journey metaphor is carefully discussed by George Roppen and Richard Sommer in Strangers and Pilgrims: An Essay on the Metaphor of Journey. New York:
Humanities, 1964. They call the journey the "metaphor of narration, of duration, extension, and purpose. Space and time operate in the metaphor under the control
of a single element, a purpose or teleological force" (preface, n.p.) [Greek telos, complete, final]. Thus, the journey narrative does not mesh well with a mechanistic
or deterministic view of creation or human destiny. Rather, it amplifies the view that natural processes or occurrences reflect an overall plan or purpose where
human decisions have real consequences.
II.Common Sequences and Patterns:
A. "The threefold path": purgation, illumination, union.
B. Another medieval elaboration: Call, conversion, assistance/guidance, obstacles, success.
C.Via Affirmativa. "Three steps forward, one step back." Essential progress as seen in Augustine's Confessions, Bonaventure's Soul's Journey Into God or Dante's
Divine Comedy.
D. Via Negatiya. Almost constant regression and denial of the spiritual, at least in traditional, ritual forms, eventually arriving at "God behind God," as in the
extreme form found in the works of Meister Eckhart. Many Protestant journey narratives and spiritual journals, e.g. Pilgrim's Progress, combine both Via Affirmative
and Via Negativa.
E. The "Vision Quest" pattern (Holy Grail): miraculous apparition or vision, journey through Valley of Pride to Humility and Love, Confession, Contrition, New
Jerusalem.
F. Chivalric Romance (more elaborated and subtle]: (e.g. Percival). Quest, failure, self-knowledge/sorrow, madness, repentance, confession, return to quest,
success.
III.Common episodes, characters, objects and qualities of journey narratives:
A. Challenge or reproof by a young women; often an aura of supernatural prophecy to her words.
B. Guidance from wise old man or woman, usually hermit or monk.
C. Wandering seen as sin and a diversion from pilgrimage.
D. Necessity of a test or tests of one's spiritual powers and/or resolve.
E. Precious object and/or person to be found and/or possessed.
F. Guardians of the object or person who must be overcome.
G. Helpers who assist the hero.
H. Extensive elaboration of the effects of "liminality"--the state of flux in which the pilgrim finds him/herself after leaving a "settled" life. The potential of change.
Development of "communitas"--the fellowship of pilgrimage.
IV. Types of Journeys and Journey "Events":
A. Pilgrimage (to a city or shrine).
B.Wandering.
C. Voyage.
D. Time Travel.
E. Sojourn.
F. Ascent of Mountain or Ladder.
G. Interior Exploration.
H. Etc.
FLM 500 Film Criticism
Some Notes on "Tender Mercies"
I. Sequence of song lyrics with language of the journey noted:
[Mac]
See that cloud there in the sky slowly drifting by.
Well that's the way she's a drifting for me.
Although I lie to myself, I know there's someone else.
But O It hurts so much to face reality.
A little child, boy or girl, will dream and play in their own dream world,
and as they play they make tender make believe.
Well I'm no child, but times it's true,
I pretend I'm not losing you
because it hurts so much to face reality.
****
[Choir; Rosa Lee]
We have heard the joyful sound, Jesus Saves, Jesus saves.
****
[Mac, to Sonny]
I've decided to leave here forever. [aside: not really]
Let me know if you're staying behind.
Otherwise, I'll be gone in the morning.
Let me know if you're staying behind.
Let me know if you always will went me,
or if you'll wander into another's arms.
Let me know what you decide dear,
and let me rest my head for awhile.
I've decided to leave here forever.
Let me know if you're coming along.
Otherwise, I'll be gone in the morning.
Let me know if you're staying behind.
****
[Dixie]
"Every night in the best bedroom in town."
"I'm not over you, I'd rather be a fool in love again...
I'm still going crazy over you."
****
[Mac: to Rosa Lee]
Baby, you're the only dream I've ever had that's come true.
There's so much more to reach for, thanks to you.
All...[trails off, unfinished]
****
[Dixie on juke box]
I'm not strong like I used to be...
****
[Mac]
Sometimes some things are hard to face.
With me, it's reality knowing someone will take my place.
I'll go on loving you through eternity,
but it hurts so much to face reality.
****
[Rosa Lee: In bed, reciting Psalm 25: 4-5]
Show me thy ways, 0 Lord;
teach me thy paths.
Lead me in thy truth, and teach me:
for thou art the God of my [pause]
salvation...
****
[Mac: Song Titles he shares with Rosa Lee]
"The Romance is Over."
"If God Can Forgive Me, Why Can't You?"
****
[Mac, after Sue Ann leaves]
When Jesus went down to the waters that day.
He was baptized in the usual way.
When it was done, God blessed His Son.
He sent down His love on the wings of a dove.
On the wings of a snow white dove,
He sent His pure, sweet love,
A sign from above,
On the wings of a dove.
****
[Dixie]
"I'm still crazy over you..."
****
[Choir and Rosa Lee at Baptismal Service]
When at last I near the shore,
And the fearful breakers roar
'Twixt me and the peaceful rest.
Then, while leaning on thy breast,
May I hear Thee say to me,
"Fear not, I will pilot thee."
****
[Mac: "The Ladder Song" at the dance hall]
Baby, you're the only dream I've ever had that's come true.
There's so much more to reach for, thanks to you.
All I've had is me till now, but I see what we've got.
If you'll just hold the ladder, baby, I'll climb to the top.
If you'll just stand beside me all the way.
I'll do all the things that didn't matter yesterday,
And I'll be everything this man can be before I stop.
If you'll just hold the ladder, baby, I'll climb to the top.
Things just started changing with your touch.
Yesterday, tomorrow just didn't mean as much.
Now I'll be everything this man can be before I stop.
If you'll just hold the ladder, baby, I'll climb to the top.
****
[The "String Band" plays in the background]
"When you fill up these empty arms of mine..."
"The only time I'm over my old heartache..."
****
[Mac on the way to Sue Ann's funeral]
A little child, boy or girl,
will dream and play in their own dream world,
and as they play they make tender make believe.
Well I'm no child, but times it's true,
I pretend I'm not losing you
because it hurts so much to face reality.
****
[Mac in the garden] On the wings of a snow white dove, He sent His pure, sweet dove...
****
[Another singer: credits]
With tender hands you gathered up the pieces of my life.
Lying in your loving arms never felt so right.
The hardluck road behind me is reflected in your eyes,
And the glory of the bright lights
Can't compare to this feeling when you smile.
You're the good things I threw away
Coming back to me everyday.
You're the best it could ever be.
You are what love means to me.
Been around and seen it all from the bottom to the top,
And, Honey, I can tell you now I'm thankful for what I've got.
These prison walls inside me never let this poor soul free,
Till the power of your true love
Broke them down just in time to rescue me.
You're the song I could never write.
You're the magic in my heart tonight.
When the morning sun comes shining through,
I'll still be holding you.
You're the good things I threw away
Coming back to me everyday.
You're the best it could ever be.
You are what love means to me.
II. Other signs of the journey symbol:
Motel: hostel; place of refilling. Rosa Lee is a guide and a nourisher. She helps him ascend--climb the ladder. She is his Beatrice.
"Mariposa": butterfly (metamorphosis; freedom); night-light; dimmed night-lamp. "Posa": halt to sing a response.
"Posar": to lay or set down; to lodge, to put up; to rest; to pose.
FLM 500 Film Criticism
Notes/Probes on "The Trip to Bountiful"
Prepared by Michael P. Graves
1.
2.
3.
4.
5.
How does the film portray a spiritual journey? How do the elements of the classical journey pattern- -purgation, illumination, union--operate in the
film?
How does the concept of "liminality" operate in the story? How do the three main characters change? Who changes the most in the cast? What is the
nature of the change?
How is "communitas" achieved in the film?
The title of the film is "The Trip to Bountiful," not "Journey" or "Pilgrimage." Why the choice?
The story is framed with the hymn, "Softly and Tenderly Jesus is Calling." How does this hymn and Carrie's relation to the old hymns amplify the
themes of the film? Here are the lyrics:
Softly and tenderly Jesus is calling,
Calling for you and for me;
See, on the portals He's waiting and watching,
Watching for you and for me.
Come home,...come home,...Ye who are weary, come home;
Earnestly, tenderly, Jesus is calling,
Calling, O sinner, come home!
Why should we tarry when Jesus is pleading,
Pleading for you and for me?
Why should we linger and heed not His mercies,
Mercies for you and for me?
Time is now fleeting, the moments are passing,
Passing from you and from me;
Shadows are gathering, death-beds are coming,
Coming for you and for me.
Oh! for the wonderful love He has promised,
Promised for you and for me;
Tho' we have sinned, He has mercy and pardon,
Pardon for you and for me.
6.
7.
8.
9.
10.
What kind of God is portrayed in the film? What clues does the film offer the viewer about God's existence, care, redemption?
What symbols operate In the film? Consider the bus, the purse, the birds, the derelict house, the earth, etc.
What does Horton Foote tell us through the film about the nature of love and familial connection?
One observer has noted that Foote tends to show us people who suffer the consequences of having made decisions against their own inclinations
(against their "hearts") and that he also shows us people who are rewarded for making decisions that follow their own inclinations. How are these
themes developed in "The Trip to Bountiful"?
What does the film tell us about the substance of interpersonal communication?
FLM 500 Film Criticism
Reflections on "One Day in the Life of Ivan Danisovich"
In what ways may a critic begin to "enter" this film and make meaningful comments about it? Many are the ways, the "doors" of entry. Consider the following:
1.
2.
3.
4.
5.
6.
7.
8.
The film may be viewed as a consideration of a set of historical facts. Solzhenitsyn after all, spent time in the Gulag and has recorded for the sake of
truth and history what literally went on (goes on?) there. What are the implications of a system such as is presented In the film?
View the film as a consideration of what suffering means in human existence. Is there meaning to suffering, especially that inflicted by follow
humans?
Consider the film as a statement about the place and value of work in human life.
Genre approach: Are there other "prison" films to which this one may be compared? Is it a film without genre?
Approach through the auteur-in this case Solzhenitsyn. One could place this adaptation of the long short story--or short novel--in the train of
development in Solzhenitsyn's published work. One might explore the film as a subtle contribution to the story as it appeared in print. In the latter
case one could add to the scholarly dialogue about the problems and potentials of filmic adaptations.
There is always the avenue of cinematography, seeing the film as a series of shots each composed in a certain fashion to include or exclude events
in the camp. One would also consider the framing device of the film--the day--the point of view, types of cuts, etc.
One might consider the film politically. Why was it never popular and is even now very difficult to find on video tape? Is it a "bad" film, not done well,
not well-acted? Is it overly negative regarding the U.S.S.R.?
There is also the possibility that the film might be viewed using the concepts and terminology of the spiritual journey" metaphor. Fruitful topics along
this line of thought might include the following:








How do the ideas of via negativa and via affirmativa work in the film? Is it largely via negativa?
How does the concept of purgation work in the story?
Is there illumination?
Is there union? W
ho are the helpers?
Who are the guardians of the treasure, or does this idea work in the story at all?
How does communitas function?
How does the concept of liminality work In Ivan's day?
FLM 500 Film Criticism
Reflections on "Shadowlands"
1.
2.
3.
4.
5.
6.
7.
8.
9.







Like "One Day in the Life," this film may be viewed as a consideration of a set of historical facts, in this case biography. In this approach, once might
consider the portrayal of C. S. Lewis and Joy Davidman In the film with reference to accuracy, consulting available sources about their lives.
Also, like "One Day in the Life," one might view the film as a consideration of what suffering means in human existence. In this film the particular
focus is on suffering as a result of human relationships and the inevitable loss occasioned by disease and death. Lewis pondered these matters in his
The Problem of Pain and A Grief Observed (first published pseudonymously).
Genre approach: Are there other biographical "suffering" films to which this one may be compared? Consider, for example, "Brian's Song" or perhaps
even "Amadeus."
Cinematography, seeing the film as a series of shots each composed in a certain fashion to include or exclude events, people, objects. Since the film
is called "Shadowlands," does the filmmaker make use or archetypal patterns of light and dark, sunlight and shadow? Why are there so many
corridors and vaults in the film? Is it significant that some scenes take place in an attic? Why the location near a late winter, early spring stream in full
thaw?
One might consider the film with regard to its portrayal of human relationships, particularly between the sexes. What, for example, are the stages in
the Lewis/Davidman match? Who is the predominant partner?
Obviously, the film is about death and dying. What does it tell us about the process, the stages before and after death, what the process means for a
Christian?
The film was made for television rather than theatrical release. Do you detect any influences in the film that would indicate that Norman Stone
accommodated to the TV medium? Remember, it was a BBC audience. How would this fact constrain the filmmaker? In this regard, how does the
film compare with "Les Miserables"?
There are several references to Lewis's writings in the film. The earliest is the visual travel through corridors and doors and, finally, through the doors
of a wardrobe. This line of thought opens up the possibilities that one might profitably analyze the film with reference to its allusions to Lewis's work
and how those works impact his own life as portrayed in the film.
There is also the possibility that the film might be viewed using the concepts and terminology of the "spiritual journey" metaphor. Fruitful topics along
this line of thought might include the following:
How do the ideas of via negativa and via affirmativa work in the film? Is it largely via negativa?
How does the concept of purgation work in the story?
Is there illumination? Is there union?
Who are the helpers?
Who are the guardians of the treasure, or does this idea work in the story at all?
How does communitas function?
How does the concept of liminality work in Lewis's "observation" of grief?
FLM 500 Film Criticism
Notes on Wild Strawberries and the Spiritual Journey
Prepared by Michael P. Graves
I. Analysis of Bergman's Wild Strawberries as spiritual journey [itinerarium], after Graves:
A. Prologue/Coda: The Cycle/Specularium
B. Dream One: Purgation #l /Via Negative. [May also be "vision" or illumination.]
C. Preparations for the Journey
D. The Journey Begins: Liminality/Illumination #1 /Via Negativa
E. Daydream Sequence: Purgation #2/Via Negativa
F. A Contemporary Sara and companions/Communitas
G. The Almans: Communitas Threatened
H. The Akermans: Illumination #2/Via Affirmativa
I. Communitas/Communitas continued in feast/poetic Vision/Illumination #3/Via Affirmativa [This scene may be considered the very heart of the story]
J. Isak's Mother: Purgation #3/Via Negativa
K. Sara's Failure: Purgation #4/Via Negativa
L. Dream Two: The Trial/Purgation #5
M. Marianne and Evald: Purgation #6/Via Negativa
N. Isak and Marianne: Penance #1
O. End of Physical Journey: The Cathedral/Via Negativa [highly ironic)
P. Isak and Agda: Penance #2/Via Negativa [ambiguous]
Q. Isak, Victor, Anders and Sara: Farewell to the Helpers/ Illumination #4/Via Affirmativa
R. Isak and Evald: Penance #3/Via Negativa
S. Isak and Marianne: Penance #4/Farewell to Helper/Union #1/ Via Affirmativa
T. Dream Three: Union #2/Via Affirmativa
U. [Coda/Prologue--implied]
Note: At the restaurant by the sea, Isak et. Al. recite a hymn by Wallin:
Where is the friend I seek everywhere?
Dawn is the time of loneliness and care. Though my heart is burning, burning.
I see His trace of glory and power,
In an ear of grain and the fragrance of flower,
In every sign and breath of air.
His love is there.
His voice whispers in the summer breeze.
II. Analysis after DeNitto, Dennis and Herman, William. (1975). Film and the Critical Eye. NY: Macmillan: Wild Strawberries as Jungian Archetypal "Night Sea
Journey." The authors interpret Jung--in the context of response to Bergman's film--in this way:
Jung asserts that a portion of the unconscious can be creative for an individual (essentially different from Freud's view). Under certain circumstances, this creative
unconscious, especially through dreams, will launch a self-destructive person on a "night sea journey" through the world of his unconscious in which he will be
forced to confront the repressions that have vitiated his positive energies; it may even reveal the means of breaking through his emotional blocks. In his dreams he
will encounter potent symbols, such as an ominous "shadow figure." One of the most important of these archetypes in the "anime figure," a woman or women, who
may guide him on his Inner journey. Even if a person is changed by these experiences, a psychic transformation does not affect the reality in which an individual
lives, only the way he reacts to that environment with renewed vitality (12).
DeNitto and Herman produce the following sequence:
A. Prologue
B. Dream One: Shadow and Death
C. Preparations for the Journey
D. The Journey Begins
E. Daydream Sequence
F. A Contemporary Sara
G. The Almans
H. The Akermans and a Lunch by the Sea
I. Isak's Mother
J. The Center Does Not Hold: Sara's Failure
K. Dream Two: The Trial
L. Marianne and Evald
M. End of the Physical Journey and the Festivities
N. End of the Psychic Journey
III. Other representative interpretations:
A. Freudian:
1.
2.
Greenberg, Harvey R. (1975). The Rags of Time. In Stuart M. Kaminsky (Ed.), Ingmar Bergman: Essays in Criticism (pp. 179-94). NY: Oxford Univ.
Press.
Bach, Sheldon. Discussion of Greenberg's Paper on Bergman's Wild Strawberries. In Essays (pp. 94-200).
B. Theological: (The film seen as a portrayal of "humanistic autonomy"): Gibson, Arthur. (1969). The Silence of God: Creative Response to the Films of Ingmar
Bergman (pp. 39-56). NY: Mellen.
C. Literary: (The film against the background of Swedish novel, drama and cinema): Donner, Jorn. (1972). The Films of Ingmar Bergman. Holder Lundbergh
(Trans.)(pp. 153-71). NY: Dover.
See also Film & Dreams: An Approach to Bergman. (1981). In Vlada Petric (Ed.). South Salem, NY: Redgrave. The volume contains thirteen essays on the subject
with several important observations regarding the dreams in Wild Strawberries.
FLM 500 Film Criticism
Responses to "My Dinner With André":
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Try seeing the film in terms of the metaphor of music. Perhaps it may be seen and analyzed as something akin to "a jazz duet for two soloists who
takes turns trading riffs and runs" (an idea proposed by David Sterritt in the Christian Science Monitor).
View the film as a standoff between the comic and romantic views of life.
The film is about characters modeled after real persons who also play the roles of the characters they have created. Get it? Does this idea make you
ask questions like "what is real?" or "what has this got to do with Plato's allegory of the cave?"?
Genre approach: Are there other "dialogue" films to which this one may be compared? Night at Maud's or perhaps even Diner? Or is it a film without
genre?
How about viewing the film as conversation? There is a developing sub-discipline of communication studies called "conversational analysis,"
complete with typologies, specialized language and modes of analysis. Without getting that technical, what does the film reveal about the nature of
relationships as seen in conversation? Is this conversation really philosophical argument?
There is much written today in intellectual circles about the narrative and how it functions as a rhetorical format. The film might be analyzed as two
narratives, Wally's and André's. How do their "stories" compare and what do they reveal about the two men?
There is always the avenue of cinematography, seeing the film as a series of shots each composed In a certain fashion to include or exclude events
In the restaurant. One would also consider the framing device of the film, the point of view, types of cuts, etc.
Several reviewers have suggested (creatively) that the film is a "fable." In what ways does the film function as a fable? Here are some Ideas for titles:
The Mole and the Eagle. The Caterpillar and the Butterfly. The Clown and the Hawk.
What about imagery in the film, both "literary" and "visual"? For example, death images abound in André's talk. The literal mirror in the restaurant
may function as a visual reinforcement of some idea. What about the electric blanket (literary) or the Amaretto (visual)? How about eating as
metaphor?
How could we analyze the film from the perspective of its being a story about two humans trying to make contact using verbal and nonverbal cues?
Could it be critiqued using terminology and concepts from Interpersonal communication studies?
11.
The film may also be about two quite different journeys or of two journeys at different stages. Using the vocabulary of the journey metaphor
(liminality, helpers, communitas, via affirmativa, via negativa, the trial, etc.), analyze and evaluate the film.