Many of his theories include how films should not emulate realism and how the sound of film should be removed. Within the film of The Gold Rush, Arnheim’s theoretical approaches are presented in the film. Even though these approaches possess positive qualities that enhance the experience of viewing film, there are elements of such approaches that hinder the experience of spectators screening the film. In Film Art, Arnheim has voiced displeasure towards the usage of sound. “These people regard the introduction of sound as an improvement or completion of silent film.
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.
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
Lin Ting (2005) explains that the principle of the separation effect is to separate the feelings of the audience and the plot, and give the audience a critical attitude to deal with the performance of the event. There are several pieces of the film that use the alienation effect to force the viewer to think about the film. There are two important reversals in Let the bullets fly. The first time is to reveal the true
According to film critic, Mark Kermode, the “Guide’s burbling digressions are reduced to infrequent interruptions rather than loquacious extrapolations” (47). Essentially, Kermode argues that the effectiveness of the entries in the novel is not translated well into the film version. Additionally, he claims that the filmmakers were “fearful” of including “verbose ornamental asides,” and were, instead, “hell-bent on pursuing an action-packed adventure narrative” (47). Kermode reviews the movie negatively, in general, but it is necessary to acknowledge that he disliked the part of the movie that seemed to have the most of Adams influence portrayed. This opposing viewpoint which emphasizes the success of the Guide entries is what film critic, Kathi Maio, argues.
In this essay I aim to analyse Ingmar Bergman’s ‘Persona’ (1966) which tells the story of a star who stopped speaking, her nurse and identity to examine how form, how the film is put together and meaning, are integral to the film. Reflexivity in film is distinguished as a film that is self-aware. A film that is aware of the process that has been taken to produce a film, the illusion that is usually created in main stream cinema is not present instead the audience are made aware that the film is simply an illusion i.e. “The fictional nature of a story can be suspended only by a direct communicative act, which is not mediated by the conventions of the fiction itself. Reflexivity creates a hole, so to speak, in the texture of the fiction through which the viewer is directly connected to the aesthetic apparatus of the fiction […] The ultimate goal of reflexive procedures is to create a direct discursive relationship between the auteur and the audience, whereby the auteur may say something not only according to the aesthetic rules of a genre but also about the rules themselves according to which the work of art in question was made”.
Thus, the simulation concept of parody and pastiche was needed for both cultures respectively for the former and the latter. The concept of simulation overlaps in the other 3 concepts, let’s look at pre-fabrication. Pre-fabrication uses existing sequences or material lying around in the archives of films, and recycled into other films. Postmodern cinema may use any piece of art or film to be used as their own. Quotes, or music, or scenes maybe reused and recycled to create other original pieces of art, or film in this matter.
This paper tries to through light on the important issue of deciding upon the right parameters of evaluation of film adaptations. After dealing with the historical perspective right from the beginning of Hollywood, the definition of adaptation has been dealt with. An interesting observation regarding adaptations that, “second-rate novels make very good movies while great works of prose produced films that have tumbled” has been referred to them. How a creative film maker, like R.K. Narayan raised an important issue is ‘fidelity to the text’ the only litmus test of an ideal adaptation? is discussed in greater details.
Although, cinematography or any other forms of art cannot be considered in a squarely same manner as the traditional philosophical debates, it interpretative potential as mean of conveying even – or even especially – more complex ideas and reflective concepts. In this paper, I will hold that film can become a powerful and uniquely effective measure of expressing and developing philosophical thoughts, especially in a framework of existential themes. With its ability to expressively portray the essential character of human experience and condition, it can provide the viewer with insights, which cannot be so easily and thoroughly conveyed through the more traditional media, such as written word of philosophical essays. The capability of cinema
This era of film unfashionably abandoned the commercial appeal of Hollywood grandeur in an attempt to capture wartime austerity. Neorealism, in its purest form, aims to present narrative cinema in a radically “de-dramatized” form. The neorealist camera directs its gaze just as intently on scenes of high-tension action as it does on scenes