Ross and Mike have raised some very interesting points about the theory
of relevance, which I outlined yesterday. Here I try to offer a few
pointers to their queries.
I agree that we should not reach the conclusion that spectators always
abide by the principle of relevance in comprehending films. This
principle simply expresses a rational norm that enables spectators to
construct a film's literal meaning.
Ambiguous films block the spectator's ability to construct a literal
meaning; they therefore block the principle of relevance, because
spectators need to increase their processing effort to determine (if
there is) a literal meaning to the ambiguous film (or scene). If the
ambiguity is resolved, then spectators have still abided by the
principle of relevance, but they had to increase their processing effort
for the same contextual effect. This is why some Art films are hard to
watch.
A different form of blocking of the principle of relevance occurs in
specialized groups spectators such as auteur critics, who prefer to
select different cues and experience a different structure than
non-auteur critics. To read a film for its authorial structures, rather
than simply for the film's literal meaning, is a non-relevance
determined strategy preferred by auteur critics. Auteur critics prefer
to go beyond the principle of relevance to concentrate on what the
filmmaker is not literally conveying.
We can draw an analogy with the choice readers face when confronted with
an ironic or allegorical text. Some readers may interpret the text
literally (by automatically following the principle of relevance), while
others are able to comprehend it figuratively (by increasing processing
effort).
Warren Buckland
Associate Professor, Film Studies
Chapman University
School of Film and Television
One University Drive
Orange
CA 92866
USA.
phone: (714) 744 7018
fax: (714) 997 6700
Editor, "New Review of Film and Television Studies":
http://www.tandf.co.uk/journals/titles/17400309.asp
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