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Clayton George Wickham - final thesis

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xiv<br />

process which includes a craft component (e.g., rules of thumb), the more general<br />

principles according to which the work is composed, and its functions, effects, and<br />

uses. Any inquiry into the fundamental principles by which a work in any<br />

representational medium is constructed can fall within the domain of poetics.” (1989;<br />

371) [parentheses in the original]<br />

Barry Salt utilises a “statistical” approach 3 to poetics, saying “It should be<br />

obvious that the terms used for analyzing movies are those used by their makers in<br />

putting them together, and indeed the only rational approach in general terms is for<br />

the analysis to reverse the construction process used in creating the work.” (2009;<br />

125) This is a statement with which I identify, although my methods differ from<br />

Salt’s in a sense: I utilise statistical methods regularly, as they are particularly<br />

illustrative of construction, but statistical methods do not dominate my analysis, as<br />

do Salt’s. However, he acknowledges, in part, that a segment of his goal is to<br />

identify aesthetic value: “The most rational and objective criteria for evaluating<br />

aesthetic worth are, in order of their importance: 1. Originality, 2. Influence. 3.<br />

Success in carrying out the maker’s intentions.” (143)<br />

I would like to momentarily differ with Salt here, by saying that I find<br />

filmmaker intention fairly irrelevant; the text is an individual source of enjoyment<br />

and experience. For example, I personally find Donnie Darko (2001; dir. Kelly)<br />

extremely enjoyable, though, according to the director’s commentary on the DVD it<br />

deviates from his original intention. However, Donnie Darko: The Director’s Cut<br />

(2004; dir. Kelly) is far less enjoyable, and, in my view, clumsy and dull. So, I<br />

3 Salt’s statistical analysis, as it is referred to by himself, Thompson, and others, involves breaking<br />

down the aesthetic elements of a film into calculable units, such as shot length, numbers of reverse<br />

angles and point of view shots, etc. He then develops his arguments based on this research, often<br />

using charts and graphs to explicate his findings.

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