The Course Number 20 June 2012 Theory for Film Practice Just as any film is perceived as an artwork, it involves the audience through engagement of senses, as well as feeling and mind in a certain process of active perception…
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Film form is thought to be the overall system of particular relations that can be found among the film’s elements. While all of them are classified either as narrative or stylistic, in this paper I will focus on the latter. To stylistic elements, mise en scene, editing, cinematography, and sound are referred (Keuthan). When the sound was introduced to the silent cinema back in 1927, its integration became the subject of hot debate ranging from passionate approval to criticism expressed by film critics of the time. Indeed, as Dale observes, “sound invasion in the cinema brought about many crises”, so that the techniques used to produce silent films were subject to complete revision (Dale 637). In the centre of the continuous debate was the role and necessity of sound, if it was thought necessary at all. While the public immediately fell in love with the sound film, a lot of film directors, aestheticians and many film critics argued that integration of sound in the film “was a disaster that would destroy the cinema as a unique art form” (Fabe 59). Opposing the views expressed by the early sound theorists that sound creates obstacles to better conveying the film’s message, this paper contends that sound is crucial to conveying the film’s message through imagery. Let us first discuss the arguments by the early sound theorists against the integration of the spoken word into the cinema. In particular, the aesthetic disadvantages of the new technology need to be observed. Having done this, I will focus on pro-sound arguments developed by another set of film theorists at that time, as well as make references to the contemporary theory of film sound. One of the most passionate anti-sound theorists was Bela Balasz. He contended that the primacy of image ensures deep communicative force of the film. Since speech is far less expressive than the body language that accompanies it, the integration of the spoken word into the cinema would lead to audience’s desensitizing. To illustrate, Balasz said, “The silent film is free of the isolating walls of language difference. If we look at and understand each other’s faces and gestures, we not only understand, we also learn to feel each other’s emotions” (Balasz as quoted in Fabe 60). Similarly, the film theoretician and historian of art Rudolph Arnheim argued against the inclusion of literal voices into film supporting his argument with the claim that images themselves speak. Moreover, Arhnheim not only advocated the anti-sound position, he called for the silent film’s return. Close analysis of Arnheim’s views helps to understand the essence of most radical anti-sound views in the film theory. In his well-known essay “A New Laocoon: Artistic Composites and the Talking Film” written back in 1938, Arhneim discusses the irrelevance of spoken word in a film. One of his arguments is that the use of sound at the then level of technological development created to the feeling of uneasiness caused by the fact the attention of the audience was torn in two opposite directions. Specifically, Arnheim contends that in a film two different media are struggling with each other to express one thing rather than exerting a united effort and capture the message. The coincidence of these fighting voices results in violation of aesthetic laws by films with sound, as Arnheim posits it (Arnheim 164). Partially sharing Arnheim’s critical views on the use of spoken word in
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The paper tells that in an effort to articulate the changing nature of the medium, theorists such as Andre Bazin and Siegried Kracauer explored many of these formal and technical tendencies. This essay examines many of these theorists’ foundational perspectives, and considers what these terms mean in the context of Francis Ford Coppola’s film Tetro.
Today, it has become a profession and a skill, and we have dedicated film schools to teach the techniques of making quality films and connecting to the audience. However, what is commonly accepted as a fact that films or cinema belong to the art world is not such a simple concept in the artworld itself, and there is an ongoing debate about its exact categorization (Prinz).
His home life consists of a messy public divorce and an affair with a US Senator’s daughter. The antagonist, Bruno, offers a deal in which the two men trade murders. Bruno will kill Guy’s wife if Guy will murder Bruno’s father, allowing Bruno to inherit a fortune.
APPLY SOCIOLOGICAL THEORY TO THE FILM “EDUCATION, AS WE SEE IT”
The film, education as we see it entails a story about alienation experienced by many students in residential schools, in Canada. The film depicts the educational decisions taken by the Canadian government on the Aboriginal community.
The production of a film’s final form is attained by the utilization of various techniques in the development of the film. There are various aspects of film form including narrative, mise-en-scene, cinematography, editing and sound. This paper analyzes the aspect of cinematography in the film Ocean’s Eleven.
It is the belief behind the film. The audience doesn’t really care much about the elements of the film – they just want to be swept away. The film is what makes the audience feel – joy, laughter, heartbreak, fear, etc. We feel the film on an intuitive level, and this is what a film really is (Frampton, 2006).
3. What is the point of view of the film? Was it overly favorable or critical of a particular group or individual? Answer: The film wants to present a part of history that many individuals were unaware of. The movie is shown from a black man’s perspective.
To be explicit, we have ‘documentaries of wish fulfillment’ and ‘documentaries of social representation’. In both the categories, documentation is done reflecting a particular idea. Movies like science
n of the holistic practice of filmmaking, whiles others see auteurism as being relevant for the promotion of quality film production.1 From which ever position the term is looked at, one fact that cannot be denied is that auteurism is central in film studies and have largely