By M. Flanagan
Martin Flanagan makes use of Bakhtin's notions of dialogism, chronotope and polyphony to handle primary questions on movie shape and reception, focussing quite at the approach cinematic narrative utilises time and house in its very development.
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Additional resources for Bakhtin and the Movies: New Ways of Understanding Hollywood Film
340), in this case, its generic context (a process that is explicitly encouraged by the film’s constant allusion to the horror canon). To this we might add further elements that do not fall into Metz’s purview, but whose influence is weighted equally between the diegetic and the extra-diegetic (the citation of social debates about screen violence, pop culture references and so on). These may include thoughts on the casting of Courtney Cox, star of sitcom Friends (1994–2004), as a famous television newscaster, or that of Neve Campbell, well-known from hit teen show Party of Five (1994–2000), as the vulnerable but resourceful heroine Sidney.
This point is not anti-Bakhtinian in itself (Bakhtin not being a proponent of the Saussurean ‘take’ on language systems anyway), but is symptomatic of a fundamental difference between Metz and Bakhtin. 58–71), a Bakhtinian way of understanding meaning exchange places huge emphasis on the response of the ‘other’, which assumes a determining semantic role in constructing the utterance/event. 38), shuts off the film text to the dialogic participation of the spectator. 17). In laying the foundations for a model of cinematic meaning that hinged upon a passive spectator, Metz in the late 1960s (when the material translated as Language and Cinema was written) anticipated moves made later and elsewhere (predominantly in ‘apparatus’ and ‘subjectposition’ debates, key moments in which are rehearsed below).
It is precisely the willingness of spectators to identify with these ‘undesirable’ characters – in new, dialogically charged contexts and against the grain of a given text’s historically situated ideological stance (such as that shaped by the films’ initial, Hays Code-era viewing conditions) – that makes such new readings possible. 374). By bringing new dialogical assumptions and inflections to the film, we contribute to the ongoing life and relevance of the text, achieving this by – sometimes – ‘positioning’ ourselves at an angle contrary to the vantage point deemed desirable by the film and its prevailing ideology, by stepping into the shoes of another dialogical perspective.