From Sight and Sound (Summer 1977). -– J.R.
THE MAJOR FILM THEORIES: AN INTRODUCTION
By J. Dudley Andrew
OXFORD UNIVERSITY PRESS, £2.50(paperback)
The widespread distrust of film theory still persisting in mainstream criticism is scarcely confined to Anglo-American film culture. Less than a decade back, when Noël Burch’s Praxis du cinéma -– later translated as Theory of Film Practice –- first appeared in France, someone at Gallimard hit on a rather demented sales pitch, and the book was marketed with a wraparound banner boldly proclaiming, ‘Contre toute théorie.’ The curious science fiction tone of this declaration highlights a subterranean bias which informs most film reviewing on and off the continent: the idea that theory is an option best left to dusty academicians, while everyone else is better off operating on free-floating intelligence and intuition. Ironically, this is an assumption which expresses a theory of its own: that knowledge is essentially empirical. And the definition accorded to ‘empiricist’ by the Concise Oxford may be worth at least considering:’(person) relying solely on experiment; quack.’
In all fairness to ‘anti-theorists’, it should be conceded that science and art are hardly the same thing. If a sizeable part of our knowledge of the former is grounded in theory, the parti pris underlying our knowledge of cinema tends to be a much more random affair, a generally murky blend of half-examined predilections and working hypotheses.… Read more »