Schirmer Encyclopedia of Film
Schirmer Encyclopedia of Film
Schirmer Encyclopedia of Film
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the significant works <strong>of</strong> directors previously canonized,<br />
rating Welles’s Mr. Arkadin (1955) higher than Citizen<br />
Kane and Murnau’s Sunrise: A Song <strong>of</strong> Two Humans<br />
(1927) above The Last Laugh, while also embracing<br />
Mizoguchi’s Saikaku ichidai onna (The Life <strong>of</strong> Oharu,<br />
1952) and Tales <strong>of</strong> Ugetsu for their long-shot, long-take<br />
aesthetic.<br />
In the United States, Andrew Sarris (b. 1928) railed<br />
against native critics who favored foreign, experimental,<br />
and documentary films over commercial Hollywood productions.<br />
In The American Cinema (1968), he <strong>of</strong>fered a<br />
reassessment <strong>of</strong> American film history based on auteurist<br />
principles, analyzing the work <strong>of</strong> over a hundred directors<br />
and sorting them into hierarchical categories ranging<br />
from ‘‘The Pantheon’’ to ‘‘Less Than Meets the Eye’’ to<br />
‘‘Subjects for Further Research’’; the result was a personal<br />
canon that served as both a model for critical assessment<br />
and a lightning rod for debate. The values underlying<br />
auteurism revolutionized the way critics conceived <strong>of</strong><br />
artistic significance, opening the door for more lowbudget,<br />
transgressive, and idiosyncratic directors to be<br />
endorsed by the critical mainstream.<br />
CONTEMPORARY CHALLENGES TO THE CANON<br />
By the end <strong>of</strong> the 1960s, some theorists and academics<br />
began questioning the tendency <strong>of</strong> auteur critics to consider<br />
the aesthetic value <strong>of</strong> films outside <strong>of</strong> any economic,<br />
historical, or ideological context. The adoption within<br />
film scholarship <strong>of</strong> theories drawn from structuralism,<br />
semiotics, Marxism, and psychoanalysis made problematic<br />
notions <strong>of</strong> authorship and conventional critical<br />
assessments. The rise <strong>of</strong> a modernist European art cinema<br />
and a vibrant American avant-garde encouraged some<br />
scholars and critics to embrace alternative filmmaking<br />
practices. At the same time in academia, feminism, race<br />
and ethnic studies, and queer studies led to a re-evaluation<br />
<strong>of</strong> orthodox canons in literature, art, and film.<br />
In cinema studies, scholars critiqued the canon from<br />
a number <strong>of</strong> angles. They noted that organizing film<br />
history around ‘‘great men’’ who produce masterpieces<br />
ignores other important aspects <strong>of</strong> the field, including<br />
film style, technology, genre, industry, national film<br />
schools, and spectatorship. Some highlighted the exclusionary<br />
nature <strong>of</strong> the orthodox canon, including the<br />
paucity <strong>of</strong> female, non-western, and non-white directors,<br />
and the neglect <strong>of</strong> documentaries, avant-garde, and animated<br />
films. Others argued that not all viewers value the<br />
same films, and those films that are valued can be significant<br />
to viewers for different reasons; thus, the personal<br />
canons <strong>of</strong> critics, filmmakers, and audience<br />
members will likely differ, as will those <strong>of</strong> individuals in<br />
different countries and age groups. A new approach to<br />
canon formation appeared necessary.<br />
Canon and Canonicity<br />
Janet Staiger summarizes four common<br />
approaches adopted in the 1970s and 1980s to address<br />
perceived problems in canon formation. First, some<br />
scholars analyzed acknowledged film classics against<br />
the grain, seeking to reveal new meanings and significance<br />
through alternative readings. Others revised the<br />
criteria that determined the nature <strong>of</strong> film art in an<br />
effort to include previously marginalized work within<br />
the established canon. Many called for the creation <strong>of</strong><br />
new canons <strong>of</strong> oppositional work that challenged dominant<br />
modes <strong>of</strong> representation. Finally, still others<br />
argued for the abolition <strong>of</strong> the canon itself, as the<br />
process <strong>of</strong> canon formation inevitably elevates selected<br />
films at the expense <strong>of</strong> others. Rather than a complete<br />
abandonment <strong>of</strong> the canon, the primary result <strong>of</strong><br />
several decades <strong>of</strong> debate within film studies discourse<br />
has been a greater awareness <strong>of</strong> the varied criteria used<br />
to form canons and their implications for film culture<br />
and history.<br />
As academia grappled with the relative merits <strong>of</strong><br />
canon formation, the evaluative impulse <strong>of</strong> auteurism<br />
became enshrined within mainstream film culture, leading<br />
to an embrace <strong>of</strong> the masterpiece tradition and an<br />
ever-growing number <strong>of</strong> ‘‘best <strong>of</strong>’’ lists. Individual critics<br />
at daily newspapers, magazines, and specialized film publications<br />
as well as critics’ groups around the world now<br />
annually rate each year’s releases, while the Library <strong>of</strong><br />
Congress has its National Treasures list, and on the<br />
Internet thousands <strong>of</strong> personal web sites <strong>of</strong>fer their own<br />
idiosyncratic canons. The urge to define cinema’s masterpieces<br />
reached its apex with the wave <strong>of</strong> national cinema<br />
centenaries celebrated during the late 1990s and early<br />
2000s, as organizations in country after country conducted<br />
polls to select their top one hundred film productions.<br />
Meanwhile, growing popular interest in box-<strong>of</strong>fice<br />
grosses and ancillary sales has led to the promotion <strong>of</strong> a<br />
different kind <strong>of</strong> canon, one formed by consumer taste<br />
rather than critical opinion. In the United States, Gone<br />
with the Wind (1939) has achieved canonical status as the<br />
all-time highest box-<strong>of</strong>fice performer, reflecting not its<br />
critical clout but its firm hold on the popular<br />
imagination.<br />
While some academics and critics continue to favor<br />
a core canon dominated by art cinema and select<br />
Hollywood auteurs, the boundaries <strong>of</strong> the canon are<br />
continually expanding. Early tastemakers were able to<br />
see movies only via theatrical release, a few major film<br />
festivals, and specialized exhibition, yet modern scholars<br />
and critics enjoy dramatically increased access to titles<br />
through a diverse array <strong>of</strong> additional media: cable,<br />
video, VCD/DVD, and the Internet. Institutions such<br />
as the American <strong>Film</strong> Institute (AFI) and British <strong>Film</strong><br />
Institute (BFI) mount programs <strong>of</strong> film screenings and<br />
publications that aid in redefining the canon. At the<br />
SCHIRMER ENCYCLOPEDIA OF FILM 219