Discover published sets by community

A film theory that stresses the depiction of life in a straightforward manner, aiming to represent reality as it is. Pioneered by theorists like André Bazin in the mid-20th century.

This film theory emerged as a critique of structuralism, focusing on the instability of meaning and the subjective interpretation in film. It gained prominence in the late 20th century.

A modern film theory that applies research from psychology and philosophy to understand how viewers comprehend and emotionally react to films. Originates from the latter part of the 20th century.

The study of signs and symbols in film, analyzing how meaning is constructed through the use of codes and conventions. Stemmed from the work of Ferdinand de Saussure and Charles Sanders Peirce.

A theoretical film framework that explores the portrayal of women in film and the ideological construction of gender. Developed in the late 1960s through the 1970s.

Film theory that analyzes the representation of nature and environmental issues, intersecting with philosophical, ethical, and social concerns. Gained momentum in the 1990s.

Film theory examining the representation of LGBTQ+ characters and themes, challenging the norms of gender and sexuality. Emerged in the early 1990s.

A theory that looks at film through a lens that emphasizes the narrative structure and how it relates to universal patterns of human consciousness. It grew out of the mid-20th century linguistic theories.

A field that examines the ways in which culture and power are articulated in cinema, focusing on the sociopolitical implications and audience interpretations. Emerged in the 1960s with thinkers like Stuart Hall.

Film theory that emphasizes aesthetic form over content or context, focusing on the technical elements and structure of the film. Originated in the early 20th century.

Analysis of films in the context of class, economics, and ideology, asserting that cinema is a product of cultural and political economy. Has its roots in the ideals of Karl Marx.

A film theory that applies the concepts of psychoanalysis, including the works of Freud and Lacan, to the study of film, exploring themes of desire, identification, and the unconscious.

A perspective on filmmaking in which the director is viewed as the major creative force in a motion picture. Popularized by the French New Wave critics in the 1950s.

This theory looks at films with a view that rejects overarching narratives, embracing pastiche, parody, and bricolage. Became influential in the second half of the 20th century.