Introducing Poetics of Cinema by David Bordwell

Poetics of Cinema by David Bordwell is a compelling continuation of his lifelong inquiry: how do films generate meaning? Unlike dominant ideological or psychoanalytic approaches in film theory, Bordwell returns to the classical tradition of poetics, particularly Aristotelian poetics, to offer a precise and structured examination of film form, style, narrative, and audience perception.

This book is a collection of essays—some previously published, others new—ranging from classical Hollywood cinema to avant-garde and global filmmakers such as Antonioni, Godard, and Wong Kar-wai. Bordwell’s prose is scholarly and rigorous, yet engaging and accessible.

Historical Poetics of Cinema: Bordwell’s Central Approach

What Is the Poetics of Cinema Approach?

Bordwell’s methodology is best described as Historical Poetics of Cinema. He raises foundational questions:

“How do films work? And how were they constructed to work within specific historical contexts?”

Rather than relying on abstract Grand Theories, Bordwell provides measurable, mid-level analyses focused on form and technique. He distances himself from speculative theorizing and instead concentrates on form-function relationships in cinema.

What Does Meaning Mean?

A key tenet in Bordwell’s theory is that meaning is inferential—the viewer actively constructs it based on visual clues and prior knowledge. He identifies two major categories of meaning:

Implicit Meaning: Hidden themes or underlying messages conveyed indirectly by the film.

Interpretive or Reflexive Meaning: Cultural or ideological structures that the film unintentionally mirrors, such as gender, race, or class dynamics.

 Narrative Analysis in Classical Hollywood

One of the most insightful chapters, examines classical Hollywood storytelling. Films like Casablanca or Double Indemnity operate on a goal-oriented, causally linked, problem-solving narrative structure. According to Bordwell, this isn’t just a storytelling device—it’s a powerful mechanism that guides emotional and cognitive responses in viewers.

He urges readers to consider:

How does the structure shape our perception of character and story?

What narrative traditions underpin these familiar forms?

How does the viewer engage with these narrative cues to build understanding?

Modern Cinema and Parametric Narration

In contrast, modern and art cinema often challenge these classical forms. Bordwell analyzes filmmakers like Godard, Antonioni, and Ozu, who break with linear causality and traditional plot.

This leads to what Bordwell terms parametric narration—where style becomes a subject in its own right. In this mode, elements like mise-en-scène, camera movement, editing, and sound design aren't just narrative tools—they invite contemplation and aesthetic awareness.

Ozu's “pillow shots” serve no direct narrative function but add rhythm and texture.

Godard’s jump cuts and sound experiments heighten self-awareness and provoke thought.

 Case Study: In the Mood for Love 

Wong Kar-wai’s In the Mood for Love (2000) is a vivid example of Bordwell in action. The film abandons conventional narrative structures and instead immerses the viewer in a formal and emotional experience using repeated musical motifs, tight framing, and elliptical editing.

Bordwell would not interpret the film ideologically. Instead, he asks:

What melodramatic traditions does the film draw upon?

What are the viewer’s expectations, and how are they fulfilled or subverted?

How does style produce meaning rather than simply deliver it?

 Why Does Poetics of Cinema Matter?

It offers a clear and practical alternative to over-theorized, abstract readings of film. Bordwell reminds us that form and style are not decorative—they are the engines of meaning.

In his view, cinema is an art form grounded in industry and technique, deserving of detailed, respectful analysis. This book is not just an academic method—it’s a way of watching more attentively, thinking more precisely, and enjoying films more deeply.