Introduction In the 1960s and 70s the second wave of feminism and the development of women’s studies influenced the development of feminist film theory. Feminist film theory is an amalgam of different theoretical frameworks. Laura Mulvey was one of the first to propose a feminist perspective on film analysis and criticism. In 1975 Mulvey’s essay Visual Pleasure and Narrative Cinema, which was influenced by Lacan and Freud, revolutionized the ideology behind feminist film theory, and for that matter feminist film criticism, and helped shift the winds of film theory toward a more psychoanalytical approach; it transformed the field of possibilities for feminists interested in film theory and criticism. Semiotics, Marxism, sociological theory,
Introduction Art is the expression of human creativity, skill and imagination. There are many different forms and types of visual art, from painting; to sculpting; to modeling; to photography and many more (Wikipedia). A lot of people around the world may not know about artists that change their artistic direction because of photography. People also may suggest that art is only about painting and drawing, but photography influenced painting by giving artists new tools; which then influenced the artists who experimented with colour, mass and lighting (Reference). But to what extent did the invention of photography influence the development of painting from the end of 19th century to 1930?
Besides, in film each angle, each cut, could make multiple significations. Juxtaposing shots make them collide and it is from the collision that meaning is produced. The meaning produced through montage is further enriched by devices like music and acting. Verbal signs work conceptually whereas cinematic signs work directly, sensually and
Cinema in its essence is the reproduction of reality. According to Andrè Bazin, man has been using art in order to preserve himself from “spiritual death”. Film and photography are the only two examples of visual arts that allow us to achieve a further level of realism. Bazin claims that cinema and photography are the only two visual arts capable of satisfying our obsession for realism. (Bazin, A.1967).
Topical were films that recreated historical or newsworthy events. The 1920’s introduced Robert Flaherty who is considered “the father of documentary cinema”. Soviet documentary’s also arose out of this time, showing that cinema could portray a political agenda. The World War II era brought about the politics and propaganda of documentary film which was heavily used in Nazi Germany and then used by the axis powers during the war. Documentary films can use different forms of organization to explain or tell a story: cumulative organizing includes a catalog of image and sounds that don’t necessarily make sense, contrastive organizing includes a series of differing viewpoints on the subject, and developmental organizing follows a change of progression throughout a film.
From the conception of the idea right to its eventual realization, there is a lot of transformation and difference. Cinema, in itself, as Ehrat reminds us, is a very difficult bedfellow for any non-dynamic understanding of cognition (2007, 137). To form meaning in cinema, there is need for the constant and endless mixing of vagueness and clarity. Iconicity gives anchorage and clarity, but then must be open to the free play of the imagination. Iconicity is the element of
The lines in the image also allow for your eyes to travel backwards and makes the image appear like it has depth. Stieglitz’s influence came from British photographer Peter Henry Emerson. Emerson believed that the camera should capture the true nature rather than alter the sense of what is true (Ferebee). Stieglitz’s impact on design was more of a photography impact. He proved that photography was an art form (Ferebee).
With reference to Bordwell/Staiger/Thompson’s model of classical narrative cinema, examine whether D.W. Griffith’s short films (1910s) might be seen to fit the model in the areas of story construction; narration; character development; staging; performance. In this essay I wish to examine whether the short films of D.W Griffith fit into the model of Classical Narrative Cinema presented by David Bordwell, Janet Staiger and Kirstin Thompson. They examined how CNC developed through changes in acting, the constructing of a storyline, development of characters and staging to create a narrative based cinema. These changes were motivated by audience’s expectations of film. Therefore, filmmakers had to make changes in order to create a narrative
Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love. By the power of photography, the natural image of a world that we neither know nor can know, nature at last does more than imitate art: she imitates the
Film is inextricably intertwined in today’s culture, both as a means and as an outcome. Through movies’ ability to stay grounded in some truths, yet also push social boundaries, it is clear that films shape culture, and culture shapes film, making more important now than ever that filmmakers are aware of what they are putting out and the implications they will have. Not every movie producer