Indie aesthetic: a pathway towards the theorisation of emotion and affect in contemporary American independent cinema

Olaoye, Petra (2024). Indie aesthetic: a pathway towards the theorisation of emotion and affect in contemporary American independent cinema. University of Birmingham. Ph.D.

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Abstract

This thesis combines an interest in film theory and philosophy to explore the multifaceted nature of the identity of contemporary American cinema. American independent cinema, specifically, has historically been viewed in terms of its contrast to Hollywood cinema, particularly in terms of narrative and stylistic differences. American independent cinema has evolved over the years, however—particularly since the emergence of ‘Indiewood’, and more recently, the rise in digital streaming platforms—thereby complicating the categorisation of films within the previously distinct cinema identities.

How then can contemporary independent cinema be understood, and what useful distinctions can be drawn between its identity and that of Hollywood? How can such distinctions be drawn? To answer these questions, the thesis aims to explore how the concept of Cognitive Film Theory can be understood in relation to the identity of cinema, specifically though cinema’s components, such as storytelling, narrative structure, aesthetics, and ideology. The thesis aims to showcase how Cognitive Film Theory—through the notions of Emotion and Affect—can serve as a useful way of understanding independent cinema in contemporary discourse. What does an engagement with film through the concepts of emotion and affect tell us about: (a) the way meaning is offered by the filmmaker, (b) the way films can be interpreted by an audience and (c) the cultural significance of such interpretations that ultimately serve to strengthen the identity of a specific cinema (d) how we might theorise emotion and affect in independent cinema, based on our understanding of a–c?

As the thesis begins to explore these questions across several chapters, it gradually guides the reader through some of the key issues and concepts in film studies. It also traces the historical developments of independent cinema and introduces some key films. The thesis also highlights key arguments surrounding the independent label and then moves to explore methods through which we might theorise the concepts of Emotion and Affect in contemporary independent cinema. The thesis does this as a way of asserting that through an in-depth exploration of Emotion and Affect—and through key components such as storytelling, narrative structure, aesthetics (including sound, editing, lighting), emotional engagement and ideology (including cultural and political representations) we can understand independent cinema in contemporary discourse.

By exploring the roles that Cognitive Film Theory plays in the perception, understanding and interpretation of films—through emotive and affective constructions in films—the thesis aims to make the argument that Cognitive Film Theory serves as the most effective way of differentiating ‘indie’ from Hollywood. The thesis investigates how, and to what extent, cognitive psychology and philosophy can be utilised to analyse the cognitive mechanisms of film, and by extension, a broader understanding of cinema identity as a medium of expression.

Several key issues are addressed throughout the thesis. To begin with, the intricate nature and definitions of several key terms used in the thesis are explored. Descriptors such as ‘Independent’, ‘Hollywood’, ‘Emotion’, ‘Affect’ and ‘Philosophy’ are isolated as being of key importance. This serves the purpose of limiting the thesis’ territory and avoiding any confusion to the reader. Furthermore, there are prospects that new definitions and approaches to understanding the way in which independent films can be understood, will be proffered by the end of the thesis. It is therefore crucial to distinguish working theories/definitions from newly proposed ones.

Much like Cognitive Film Theory, Ideology/ideological dimensions—as an approach to film studies—is shown to play a significant role in our understanding of film. Ideology is thence used as a framework in the thesis in two ways: firstly, it serves to highlight how ideological notions and perspectives can structure and influence our understanding and reading of film characters, themes, visual styles, and narratives. Secondly, it is adopted to showcase how ideological frameworks (such as gender, class, and political ideology) influence the way emotion and affect function in film. A range of theories, theorists and scholars are presented in this thesis—from the notion of cognitivism to formalism—through the works of Gilles Deleuze, Sigmund Freud, André Bazin, Noël Burch, Jeffrey Sconce, Carl Plantinga, and several others.

A key feature of the thesis includes a literature review which covers a wide range of concepts, theories, and issues in film studies. The thesis includes an in-depth discussion of contemporary American film industry and significant changes within the industry over the years. There are chapters which focus on both Independent and Hollywood cinema as well as Cognitive Film Theory. The thesis employs both independent and Hollywood case studies films, some of which are well established within film criticism. It also proposes new case study films in order to both demonstrate developments within American filmmaking and to establish the ways in which emotion and affect are offered in various film texts. In exploring film analysis, the thesis provides both vibrant and crucial illustrations, along with key terms so that the reader can be fully immersed in the thesis’ exploration of film.

Each chapter is written to explore specific subjects, such as ‘The Independent Film Culture’, ‘Concepts of Representation in Independent Cinema’ and ‘Emotional Sustainability in Films Directed by Nick Cassavetes’. A wide range of films are analysed and discussed in varying degree, and within the context of aesthetics, representation, ideology, emotion, and affect.

Finally, suggestions are made in the thesis’ conclusion for further research, reading and viewing, along with a comprehensive list of bibliography and filmography. The concluding chapter of the thesis offers a foundation for further research. It proposes that a new study could contextualise the viewing experience of film through the lens of political ideology. It would undoubtedly prove useful to explore how outside forces and institutions play a significant role in the audience’s interpretation of film. In other words, how could contemporary political culture be effective in shaping the emotional and affective experience of film (a process that would occur outside of the realms of the formal devices employed in a film, and outside the boundaries of the affective experiences within a cinematic space)?

The thesis will hopefully inspire other researchers in Film Studies by broadening approaches to interpreting films as well as deepening the understanding of cinema identity and representation through theoretical concepts. Such concepts highlight how an engagement with psychology, ideology and philosophy can serve as governing tools for identifying, understanding, interpreting, and valuing film texts.

Type of Work:

Thesis (Doctorates > Ph.D.)

Award Type:

Doctorates > Ph.D.

Supervisor(s):