I was
reading a book review of Sarah Cooper’s The Soul of Film Theory (2013), which brought up something I
haven’t thought of for a long time (although, I must have encountered somewhere
in grad school) regarding the concept of the “soul” and how it evolved in film
theory, from “classical” to “signifying” to “body and.” The article talks about how, in a
post-structuralism world, the concept of the “soul” has become too … um …
demonstrative for us. Perhaps not so
much in the flotsam of everyday life but certainly in academia. Yet this was a very real concept in previous
decades and was attached to semiotics related to ethical and political
views. I would argue that a more secular
society is still operating underneath some sort of schema (albeit perhaps
restricted in some senses by the empirical), but I doubt the sorts of morality found
in a predominantly liberal Hollywood adheres to ideals that are equally as
touchy-feely as any religious doctrine.
And, are they really exercised all that differently? Both sides would say they are all about
inclusion, and both sides are more than quick enough to exclude those who have
opposing viewpoints. What becomes
interesting, from a critical standpoint, is how these views are either
exercised, or subconsciously bubble over into, our various avenues of popular
culture. We go into this a bit when
discussing ideology in my Film 101 class (films trying to be subtle, overt or
staying away from broadcasting an agenda).
But, it’s still an interesting question to toy with. When looking at something like It’s a Wonderful Life (1946) or A Christmas Story (1983), it isn’t hard
to look into the work to find a sort of “soul” or spiritual repository of the
work. Is that different from theme? Theme is the main idea. If I say “It’s
a Wonderful Life is about the importance of a life and how it touches
others,” do I tamp down on its soul?
That message appears to be immortal, as subsequent generations come in
contact with the film, even long after the people associated with making the
film have passed on. What we take away
from films (or books or pieces of music or other art), the overall meaning, the
values and virtues it extols, can be grasped, so long as there is an audience
to perceive.
