This week’s reading from Film Art focused on film criticism and walked us through a sample analysis of a film directed by Spike Lee, Do the Right Thing. What stood out to me during the readings was the mention of the film’s plot disconnecting from traditional storytelling and classical usage. Instead of having clear, cause-and-effect action or movement that pushes the plot forward in a traditional way, the film steps outside of that structure. At the same time, it still taps into certain elements of American cinema, just in its own style and on its own terms. This approach allows the film to feel both familiar and completely original, creating space for the social and emotional weight of the story to take priority over a strict narrative.
Throughout the film, Lee makes an effort to incorporate and seamlessly show the connections among several sequences that hold their own stories and lead back to the central theme of respecting the community. In the beginning of the film, there is a brief introduction of the man on the radio, which establishes the setting of the town and ultimately binds together the relationships presented. Lee’s ability to utilize setting helps hold the characters and their actions together. With the radio man speaking about the heat wave currently affecting the residents of the neighborhood, there is space for the feeling of irritability and tension that leads to the climax later in the film. Lee is also able to detach slightly from traditional filmmaking and touch on elements of experimental film in the way he stitches these scenes together. This creates a rhythm that mirrors real life, where smaller moments slowly build toward larger conflicts, making the film feel grounded, intentional, and socially aware.
In addition, the reading also discusses Lee’s choice to incorporate various camera positions to evoke emotion throughout different scenes. For example, it highlights his use of high angles and the shot of a man walking over a child’s drawing, which helps convey a sense of self-absorption within the narrative. This further underscores his reliance on classical usage.
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