Thompson and Bordwell's perspective on active viewership overlooks the impact of cultural and social factors on shaping the text and the author's thoughts. In this way, Zizek criticizes Neoformalism for failing to acknowledge the pivotal role of culture and ideology in shaping the film's text and thoughts. I am curious if any post-neoformalist theories or critical theorists have explored the integration of contextual materials in the realm of structure and form.
Your question is valid and thought-provoking, especially in the context of film studies and theoretical criticism. Here's a succinct answer:
Neoformalism, as developed by theorists like Thompson and Bordwell, focuses primarily on the formal aspects of films—such as narrative structure and visual style—while often sidelining cultural, social, and historical contexts. Zizek's critique highlights this gap, underscoring the need to integrate these contextual elements into the analysis. In response, some post-neoformalist theories and critics have indeed started to blend structural and formal analysis with cultural and social perspectives. This approach broadens the scope of film analysis, recognizing that movies are not only artistic creations but also cultural artifacts deeply embedded in their societal and historical contexts. Such integration enriches our understanding of films by acknowledging the interplay between their formal qualities and the external factors that influence both their creation and reception.
Notably, scholars like Miriam Hansen and David Bordwell himself, in his later works, have expanded the neoformalist framework to include more contextual analysis. Hansen, for instance, has been instrumental in incorporating the study of audience reception and historical context into film analysis. Similarly, Bordwell's more recent works reflect an increased attention to the historical and cultural circumstances surrounding films. Additionally, scholars like Robert Stam and Ella Shohat have advocated for a more inclusive and culturally aware approach to film studies, arguing for the incorporation of postcolonial and multicultural perspectives. These efforts represent a significant shift towards a more holistic understanding of films, acknowledging the intricate relationship between a film's formal aspects and its broader social and cultural milieu.
I appreciate it, Dr. Esser. I am struggling to reconcile pure (neo)formalism with a more contemporary approach that considers social and cultural context. I will read up on the works of Hansen, Stam, and Shohat hoping to develop a more refined version of neoformalism.
Thank you, Hamid Yari, for sharing your thoughts. I appreciate it. Should you have additional questions, please do not hesitate to get in touch
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