ABSTRACT
The remaining chapters of this book move from the eclectic and synthesising approach of the previous chapter to explore Jungian approaches to four individual established areas of film theory. Two of these involve theories that have made the transition from the technical lexicon of the academy to become part of our everyday vocabulary, namely auteur theory and genre theory. While auteur theory is primarily concerned with the creation of films and the role of the director, genre theory examines the interrelationships between the films themselves, the studios that have produced them and how viewers ‘read’ such genre films. The third theory deals with questions of sexuality and representation. Finally, the book closes with a consideration of phenomenological film theory. This somewhat specialist area is included because it sets out to understand the experience of watching a film and what it is that is happening when viewers experience the unfolding flow of images and sounds in the auditorium. These are the four approaches: auteur theory (creation); genre theory (production and exhibition); sexuality (representation) and phenomenological theory (reception).
