Filmmaking, like many other fields of work and art, can be broken down into many components, and that is exactly what film theory is. It’s a way to break down movies¹ and extrapolate meaning from the way they are made.

Simple, right? Film theory doesn’t have to be complicated, but at the same time, consider just how many technical and creative elements are necessary for a film: screenwriting, directing, cinematography, editing, etc… In the same way, multiple film theories exist. They can also contradict or complement each other.

We’ll detail some of the more popular film theories out there in just a moment.

But first, let’s explore the elements of cinema that are studied within the framework of film theory.

This is where film theory really begins. And as any film student can attest, conversation and debate can keep going and going when it comes to discussing these elements. Why? Because just like any other art form, film is open to interpretation.

But before we get ahead of ourselves, let’s go over some of these elements and their importance when it comes to film theory.

With every single film comes the decision of how to shoot every single shot in it² And while many films rely heavily on some of the more standard eye-level long and medium shots, the sky’s the limit on the type of shots and angles available to them.

Take for example the film Citizen Kane (1941).

For anyone interested in learning how camera angles and shots can inform story, this particular movie is a virtual masterclass. Specifically, watch the sequence where Kane’s parents are selling him away.

A choice was made to film that scene in deep focus, which allows the audience to watch young Charles in the background, playing in the snow as his parents argue about whether or not they should keep him.

Deep focus is a defining feature of Citizen Kane. In this particular scene, it showcases the joy and youthfulness of Charles Foster Kane as others decide his fate.

This pivotal moment is then referenced upon Kane’s deathbed when he whispers, “Rosebud,” the name of the sled he had as a boy with which he was playing in that scene.

Some in the entertainment world mourned the demise of black and white photography in favor of color filmmaking. However, the use of color since has become yet another element that contributes to film theory.

Not only are camera angles and shots considered in the process of making a movie, but so too the images and objects that they will be picking up. Hence, the necessity of choosing a color palette that reflects the mood and themes of the film.³

Edward Scissorhands (1990) is an excellent example of how color can inform story.

This sequence of events in Edward Scissorhands demonstrates the deliberate choices made by Tim Burton, as well as his production design and costuming team, to exaggerate how out of place Edward truly is.

The audience is introduced to Edward in a fairly monochromatic world, both in terms of his surroundings and his own costuming and makeup. But when he comes to live with the Boggs, he is suddenly thrust into a pastel suburban wonderland, which emphasizes the differences between him and everyone else.

Every element of film theory has significance, but it’s particularly important to not underestimate the power of the edit!

Because at the end of the day, it’s the Film Editor who decides not only what the audience ultimately sees but also the order in which they see it—and both can have huge implications for how a film is interpreted.⁴

Take for instance the baptism scene in The Godfather (1972), perhaps one of the most important sequences in the entire film, if not the entire Godfather series.

Easily considered one of the most iconic sequences in film history, this five-minute section of The Godfather highlights the transition of Michael into a powerful Don.

Michael stands before the priest and verbally agrees to become the godfather to his nephew. As he does, the sequence intercuts with his henchman systematically killing his rivals, thus signaling his own baptism as the sole person of power in this underworld.

Pretty cool, right?

Lighting in film is never just as simple as making sure you can see the Actors and their surroundings through the camera. Rather, lighting can help in setting the mood of individual scenes, as well as the film as a whole.⁵

Depending on the intention behind it, lighting can also subtly inform the character. Perhaps a choice is made to bathe a character in a soft glow to underscore their goodness or to forego the fill light so that the key presents them in harsher contrast, thus highlighting the darker side of their nature.

Filmed in low lighting common to film noir, Double Indemnity (1994) underlines the dark secrets and doings of its two antiheroes, Phyllis and Walter.

In fact, some entire genres of film are defined by their use of lighting, such as film noir⁶. Film noir, which utilizes low key lighting, generally is defined by its permeating shadows that heighten the dark, mysterious, and sometimes dangerous mood of its narratives.

Now film theory gets really interesting. Just as each of the above elements can help to inform the meaning of a film, so too can they do so as a whole. Hence, mise-en-scène.

A quick and easy way to remember mise-en-scène is that it encompasses everything a viewer sees in the frame: lighting, décor, costumes, makeup, Actor placement, and even type of shot⁷.

While mise-en-scène is always considered in film theory regardless of the importance that the filmmaker puts on it, some Film Directors are particularly known for their unique sense of this element.

The Royal Tenenbaums (2001) is just one example of how meticulous Wes Anderson is making sure that every single shot of his films provides a wealth of visual information for audiences.

Ever see a Wes Anderson film? They’re nearly unmistakable precisely because of his eccentric and wholly distinctive mise-en-scène.

It goes without saying that what a viewer sees in a film is inherently important to understanding its story. But what far fewer movie lovers realize is how their reaction to a film’s narrative can be affected by sound.

Now, sound is an incredibly broad term when it comes to cinema, as it can encompass sound design, sound editing, sound mixing, and score composition. But between all of these aspects of sound can be found another way of looking at film theory.

Let’s break down one very simple scene in one of the most famous movies of all time, Jurassic Park (1993). As the characters Grant, Malcolm, Tim, and Lex wait in their Jeeps, they notice a vibration in a cup of water.

The tension and terror of this memorable scene begins well before we see the T-Rex thanks to the sound design.

Now by just looking at the cup with no sound, the vibration could be made by any number of factors. But it’s because the audience can hear the distinct rumbling footstep of a dinosaur in the background just as the vibration occurs, it creates a moment of terrific horror and tension, as they know exactly who is about to show up.

Here’s a fascinating aspect of film theory: Just the type of film can help to inform the meaning of it. Without knowing anything else about a movie, if told that it’s a comedy, horror, western or war epic, we immediately formulate ideas about what that particular narrative is about.

That’s why some people immediately shut down the idea of watching a movie when told only its genre. That’s because, over the 100-plus years of cinema, genres have been built upon certain precepts.

So when a new film within that genre stays well within the already established “rules” for it, that says something about it, as does when a film makes a choice to step out of those conventions.

This scene offers a true meta moment when a character in a horror film is explaining the rules of the horror genre to others.

In this case, the movie Scream (1996) is a great example of a film that is a horror film but also a genre-defying movie, as it discusses the rules of horror throughout the narrative.

The first 25 years of cinema allowed for Filmmakers to experiment with this new art form and figure out how best to tell their stories.

By the 1920s, though, academics and creatives alike were beginning to view film as more than just a type of new entertainment. And over the last century, various forms of film theory have developed in step with other cultural changes with some remaining in mainstream scholarly circles and some fading into history.

As mentioned earlier, film theory is an umbrella term for a number of different ways to analyze film from an academic point of view. Let’s take a look at some of the most popular examples of film theory:

Apparatus theory came about 50 years ago with its central tenet being that cinema as a whole – meaning every film – is a reflection of reality in some manner.

The apparatus theory was created by the French novelist Jean-Louis Baudry, and this video explains the thinking behind it.

Moreover, all cinematic elements of a film are imbued with some meaning for the audience.

Auteur theory is perhaps the most famous type of film theory.

A look at the history and development of one of the most well-known film theories, the auteur theory.

Developed by a future Filmmaker – François Truffaut – this theory states that the ultimate author (or auteur) of a film is its Director.

Historically, most Filmmakers with the opportunities to make projects have been men. The tide is slowly turning with women and female-identifying individuals helming more film projects, but on account of this part of cinema history, most films come from a male point of view.

Filmmaker Barbara Hammer discusses her journey into cinema and participation in feminist film.

Feminist film theory highlights this facet of cinema and attempts to point out where women have been able to break through the male-centric lens of filmmaking.

Formalist theory takes a particularly close look at how the technical aspects of filmmaking impact meaning.

This video provides an in-depth analysis of the formalist theory as devised by German writer Rudolf Arnheim.

To that end, those who advocate on behalf of the formalist theory analyze elements such as lighting, lens, camera shot, camera angle, and editing choices.

As its name indicates, the structuralist theory spotlights how the structure of films provide meaning through it.

A concise breakdown of structuralist theory and its offshoot post-structuralist theory.

This theory studies how themes and motifs presented in movies help to create a cinematic structure, language, and meaning.

The above film theories are the more popular ones in academia, but they are far from the only modes of thinking about cinema, its meaning, and impact.

We’ve only scratched the surface of all that encompasses film theory!

However, for those who want to devote their professional lives to it, they might want to explore a career in film history, film criticism, or even film education as a Film Professor.

But what about those who want to be the ones making movies? Why should film theory matter to them?

Because as mentioned earlier, many film specialists must collaborate to make a single film, and the truth of the matter is that it’s essential for any aspiring Filmmaker to be able to speak “film language.”

Without any understanding of why lighting or scoring is important to a movie, how would a Director then instruct their Cinematographer or Composer on what they’re trying to achieve? Or in contrast, how would they be able to digest the suggestions of those individuals as the experts in their fields?

Communication is vital in filmmaking and being well-versed in all aspects of it can only result in a better-made movie.

And for those saying that they only write the films and never even want to step foot on a sound stage?

Think about the ultimate goal: Having that script realized as closely as possible to the Screenwriter’s intention. That means understanding all of the above elements, even during the writing process, to better clarify the story on the page.

Says Screenwriter and Filmmaker Kameishia Wooten, “I take color and sound into consideration when implementing the theme and subtext [of a script]. I also find film theory useful when prepping to direct.”

For anyone looking to one day teach, write about or make movies, film theory is critical in being able to effectively communicate about them, as well as create a meaningful and enduring film to join the rest of the cinematic compendium.

You don’t have to have a mastery of knowledge of film theory to be a Filmmaker. You don’t even have to subscribe to any one theory in particular to make movies. But as with many aspects of cinema, understanding this art form as much as possible is critical to creating fresh and interesting stories that engage audiences.

Film theory provides important subtext for how viewers interpret movies. It also offers a fascinating look at how Filmmakers of bygone eras wove meaning into their productions that highlighted the trends and cultural thinking of a particular time.

Whether you intend to make movies or study them, film theory can be a valuable tool for better understanding this medium of creative expression.