Originality, Experientiality and Experientism: Moving Beyond Post-Modernism

By Luis Antunes.

Published by The International Journal of the Image

Format Price
Article: Print $US10.00
Published Online: June 28, 2016 $US5.00

This essay examines the concepts of originality and experientiality in film and compares Alfred Hitchcock’s Psycho (1960) and Gus Van Sant’s homonymous shot-for-shot remake (1998) to argue for a change of paradigms from post-modernism to experientism. I seek to deconstruct the attributed importance of originality as an operational concept in film evaluation. Departing from the many meanings held by the concept of originality, I argue that the prevailing post-modern idea that all is a citation and there is nothing new because everything has already been created is no longer valid in the context of the current paradigm of filmic creation, a paradigm I call experientiality, or experientism–reflecting, the idea that everything has at least a minimum amount of originality based on experience. I build my case around a discussion of theoretical and historical groundings and an analysis of Gus Van Sant’s film Psycho (1998), a shot-for-shot remake of Alfred Hitchcock’s Psycho (1960). My purpose is to call for an end to the post-modern paradigm to invite readers to understand film creation not primarily in terms of the object but in terms of the audience experience.

Keywords: Experientiality, Film Remake, Post-Modernism, Psycho, Experientism, Originality

The International Journal of the Image, Volume 7, Issue 4, December 2016, pp.43-56. Article: Print (Spiral Bound). Published Online: June 28, 2016 (Article: Electronic (PDF File; 616.674KB)).

Luis Antunes

PhD Candidate in Film Studies and Aesthetics, The School of Arts, University of Kent, Canterbury, Kent, UK