Film, filozofija in medkulturna filmska kritika

Film, contrary to the other “traditional” arts that have been developing over centuries, is a creation of modern times, and when it emerged it was not only a modern technological achievement but also a medium intended for the masses. Torn between art and popular entertainment, from its very beginning film was a source of oppositions, dichotomies, and fierce struggles. Some oppositions exist on the level of production, others on the level of reception, and above all they are present in the field of film criticism, which itself is split between journalistic criticism and the more philosophically and theoretically informed academic variety. This essay focuses on intercultural film criticism and scrutinises different variations of its relationship with philosophy and points out that so-called “classical” film criticism, based on psychoanalysis, semiotics, and Marxism, as well as film criticism of the “analytic-cognitivist” variety, cannot properly address this topic. It also shows that the approach developed by Fredric Jameson offers a much more adequate option, which not only addresses the film medium in the geopolitical context, but also enables, through film, an understanding of contemporary global society.V nasprotju z drugimi, »tradicionalnimi« oblikami umetnosti, ki so se razvijale skozi stoletja, predstavlja film dosežek modernosti, in ko se je pojavil, ni bil zgolj sodobni tehnološki dosežek, temveč tudi medij, v osnovi namenjen množicam. Razpet med umetnostjo in množično industrijo zabave, je bil film od vsega začetka vir nasprotij, protislovij in hudih bojev. Nekatera nasprotja obstajajo na ravni produkcije, druga na ravni recepcije, predvsem pa so prisotna v polju filmske kritike, ki je razcepljena na žurnalistično kritiko in na njeno bolj filozofsko in teoretsko podprto akademsko različico. V pričujočem članku se avtor osredotoča na medkulturno filmsko kritiko ter sledi različnim vrstam odnosov, ki jih slednja vzpostavlja s filozofijo ter obenem poudarja, da t. i. »klasična« filmska kritika, temelječa na psihoanalizi, semiotiki in marksizmu, kot tudi njena »analitično-kognitivistična« različica, ne moreta ustrezno obravnavati te problematike. Pokaže tudi, da je pristop, ki ga je razvil Fredric Jameson, veliko ustreznejši, saj ne obravnava zgolj filmskega medija v geopolitičnem kontekstu, temveč omogoča skozi film tudi dojemanje sodobne globalne družbe