And the second stage is extreme pro-cinematic philosophy, say that’s a film has the ability to add and create as much meaning to philosophy as written and oral work. And finally moderate anti-cinematic philosophy and moderate pro-cinematic philosophy, talks about the level in which the film makes its audience believe and how philosophy limit it. all this help us understand how a film works. in conclusion, looking at movie in the existential perspective and in an aesthetic of film, we see more than just the color and camera movement which is seen in every cinema theater. the meaning of film is shown and
Wegner of U.S is the pioneer of using films as a medium of teaching organizational behavior as well as management theories and concepts. The unique qualities of films are described by the film theories and film studies literature. Film theory also describes how film can enhance the learning process in ways unavailable in other media. In this paper an attempt is made by giving examples from several film scenes as they offer visual portrayal of abstract theories and concepts. Film theories and film studies literature stresses on the unique features of film which makes it as a powerful medium of teaching.
They are axes of reading, around the concept of authorship, or about the question that the title indicates. In the chapter homonymous to the book, Martin is reviewing what is what distinguishes modern cinema from classic. Using Barthes to Antonioni, and from this to Godard (the last two as paradigmatic filmmakers of modern cinema), a tendency that confronts the modern to the classical and redefines it as aesthetic, formal searches is descaling; “Overcoming an old problem / formulating an old question”. The modern
Ronald Grimes, the American ritual theorist, who founded the interdisciplinary field of ritual studies, is another very important figure for this research work. In this part of first chapter we will elaborate only on the part of his theory, which is presented in Rite out of Place, on shooting rites. Moreover, we want to take this part of theory in order to apply it in the theatrical material to understand what can happen with the performance and the process of performing while recording. Schechner’s presupposition that theatre and ritual are both performances having common structure validates out attempt to analyze theatre movie production by scheme that is offered by Grimes. Grimes, analyzing how camera changes the ritual process, distinguishes nine interesting points how shooting can change reality.
Beginning with the title and logo of the film, The Man with the Movie Camera, we can conclude that we are invited to examine the relation and the collaboration between human being and machine. Vertov makes it clear, in his written manifesto at the beginning of the film, that “the film presents an experiment in the cinematic communication of visible events …. This experimental work aims at creating a truly international absolute language of cinema based on its total separation from the language of theatre and literature”. Vertov wants us to investigate this relation through visual language, as he presents a group of surreal images and shots, inviting us to participate in the decoding process of his film. The film begins with a shot of a huge camera and a cameraman sets his camera upon it.
Pulp Fiction is a film that revolutionized the way movies were made, and since its premiere has left lasting influences on cinema as an art form. This essay will focus specifically on the popularization of non-linear story telling and use of postmodernism in mainstream cinema. In addition, it will examine use of cynicism and irony within the film to speak to the disenchantment of Generation X and the responses to the film which solidified it as a cultural phenomenon. Pulp Fiction not only impacted the beliefs and values which defined mood of the period they were born into, the film techniques and distinct aesthetics of both films are what made postmodernism in mainstream cinema not only possible, but popular. In Pulp Fiction, Tarantino champions the postmodern aesthetics of past imitation and intertextuality.
What is point of view editing? - This show the audience what was the character see, this is shown by the camera representation. Point of view editing is used in the most important approach of the movie and it’s strengthen the story telling aspect of the film. This editing is used to shows how the character is thinking and what he wants to tell in the film many filmmakers used this editing to show to the audience or viewer what they think and to show what’s inside the movie is presented. This shot contains what the character see and this shows what is the relationship of the camera to the person or to the action that is being done to the movie.
The warriors in B roll shots are real WW2 warriors but the portrait of reality in the video never happened. It is just an idealized scene made through careful structure and consideration. According to Eisenstein, elements are not perceived as appearing next to each other, but rather, appear on top of one another. Since he thinks of shots in this way, he uses spatial and temporal dislocation within his films, thus jarring his viewers. This method contrasts with standard Hollywood practices, which employ montage as a way of creating understanding.
The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own. Before this markable period, film authors were generally self-directing with open stylistic aspirations and full management over their films.
Alan Spiegel concludes Fiction and the Camera Eye: Visual Consciousness in Film and the Modern Novel (1976) speculating on the future of the novel in the age of film: ‘’the contemporary novel at its most advanced now consorts with the coldness and passivity of the photographic plate. Just s photography seemed to release painting from its representational functions, so perhaps the film was always meant to appropriate the mimetic tradition in literature itself free to’’ (Spiegel, 1976). It has been lamented that some novels are written not just as novels, but as future films. For example, Harry Potter. It has been argued that the experience of reading the books is akin to watching a film (Cartmell and Whelehan, 2010); Harry’s control of the gaze through the emphasis on his glasses, the influence of the blockbuster, especially the obligatory action sequences, and the intertextual references to Star Wars, in first volume, call attention to the ways in which Hollywood has shaped popular fiction.