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B. FILM
According to Boggs, Film has properties that set it apart from painting, sculpture, novels, and plays. It is also, in its most popular and powerful form, a
story telling medium that shares many elements with the short story and the novel. And because film presents its stories in dramatic form, it has even
more in common with the stage play: Both plays and movies act out or dramatize, show rather than tell, what happens.
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Unlike the novel, short story, or play, however, film is not handy to study; it cannot be effectively frozen on the printed page. The novel and short story are
relatively easy to study because they are written to be read. The stage play is slightly more difficult to study because it is written to be performed. But plays are
printed, and because they rely heavily on the spoken word, imaginative readers can conjure up at least a pale imitation of the experience they might
have watching a performance on stage. This cannot be said of the screenplay, for a film depends greatly on visual and other nonverbal elements that are not easily
expressed in writing. The screenplay requires so much filling in by our imagination that we cannot really approximate the experience of a film by
read •ing a screenplay, and reading a screenplay is worthwhile only if we have
already seen the film. Thus, most screenplays are published not to be read but rather to be remembered.
Talking about psychological dimension in film, perhaps it is one of the reasons that there are many studies about psychology in film. It can be argued
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Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Film: Seven Edition New York: McGraw-Hill, 2008, p.41.
9 base on one of theory of film, and it is cognitive approach. Indeed, there is a
cognitive element in some films. Toby and Robert wrote that “elements of broadly
cognitivist thinking can be found in work on film throughout this century e.g. Mnsterberg 1970.
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Besides cognitive approach, there is also psychoanalytic approach in studying film, because there are some films which use psychoanalytic ideas. It
was also written by Toby and Robert that “Film theorists, critics, and
commentators have been drawn to psychoanalytic ideas to explain cinema seems to display a fundamental kinship with the irrational that psychoanalysis seeks to
explain.
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C. CHARACTER AND CHARACTERIZATION Character
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