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Abstract

Much of film theory holds that film is primarily an act of communication, whose message the audience understands. While this allows us great insights into the ideological and subconscious functions of a great many films, it falls short of this success with more enigmatic films. In instances such as these, where films are not easily understood, a different paradigm is necessary. Using philosophical texts as comparative tools in film analysis provides the answer to this "blindspot" in film criticism.

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