Chapter 11: Models of Film Theory. Basic Models of Film Theory ä Realist ä Auteurist ä Psychoanalytic ä Ideological ä Feminist ä Cognitive.

Slides:

Advertisements

Similar presentations

Sports in Society: Issues & Controversies

Advertisements

Chapter 32: Critical Approaches Important in the Study of Literature

Vertigo How many different ways can we look at Hitchcock?

. Andre Bazin & Italian Neorealism. . Siefried Kracauer ( ) CINEMATIC REALISM : Philosophy n Critic of “modernity” (Frankfurt School) n Human.

Meaning An observation or a general statement about a subject such as film.

. Film Theory & Movements FIVE DIFFERENT VIEWS OF REALITY.

December 6, What Makes a Film Political? Depends on what theory of the relationship between films (popular culture) and politics you are using.

Lecture 10: Film Theory Professor Aaron Baker. Last Time: Stars Movie Stars, Their Images What They Are Why They Matter to Us George Clooney 2.

Courtesy Dr. Julie Gralow. An Introduction to Personality WHAT IS PERSONALITY? Personality Unique, core set of characteristics that influence the way.

British Literature April 29, 2009 Ms. Cares. Freewrite: Consider the following: How do you read? What is your favorite book and why? What types of literature.

VES 186c. Film & Photography, Image & Narration Professor David Rodowick Office hours: Monday and Wednesday 3-4 pm, or by appointment. M-06 Sever Hall.

Between Gazes Camelia Elias. 1. wave feminism  V. Woolf: “A Room of One’s Own”  socio-historical condition  Simone de Beauvoir: The Second Sex  sex/gender.

Point of view and narration Point of view of camera Point of view of character Point of view of spectator Controlling the flow of story information To.

VISUAL CULTURE.

Feminism and film theory To understand and critique gender hierarchies and patriarchal ideologies in commercial narrative cinema. To define the terms of.

© 2004 The McGraw-Hill Companies, Inc. All rights reserved. McGraw-Hill/Irwin.

VES 172a. Film & Photography, Image & Narration

Between Gazes Camelia Elias. interventions in feminist filmmaking  How to formulate an understanding of a structure that insists on our absence even.

Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing.

What’s wrong with images of women in the cinema? l Greater differentiation of men’s roles than women’s roles. l Men portrayed as actors within history;

overview of the “Introduction” from Film Analysis,

Early European Film Movements Jean Renoir: Early French Cinema.

Chapter 9: Cinema in an International Frame. The International Auteur Cinema ä Auteurism ä Film is an art ä The director as artist ä 1950s-1960s ä Emergence.

Engl 332 Langah.  Art imitates nature (Aristotle) or ‘holds mirror up to nature’ (Hamlet)  The same idea reflects through the paintings from early Renaissance.

Film Topics: Editing Mr. Skaar ALHS Film Studies.

The Secret Code of Filming Editing V.I. Pudovkin: “The foundation of film art is editing.” Shots in film acquire meaning when they are juxtaposed with.

Film Theory What Films Do.

Introducing Psychology

Psychoanalytic criticism By: Linda D’Alessandro. Psychoanalytic literary criticism refers to literary criticism which, in method, concept, theory, or.

Feminism and film theory 1972: the first two women's film festivals organized in New York and Edinburgh; – W omen and Film begins publishing in California.

POSTMODERNISM Owen, Rachel, Mary, Jessica, Ty, Elvira.

QUALITATIVE RESEARCH METHODS CRITICAL TEXTUAL ANALYSIS-- OVERVIEW, CULTURAL STUDIES & GENERAL TYPES, PART 1.

Theme of Propaganda Throughout history, art has been used as propaganda to shape public opinion. Propaganda takes many forms, such as architecture, paintings,

Discuss the relation between scholarship, criticism and production in filmmaking and discuss its impact on film style.

Media Aesthetics Contextualism in Applied Media Aesthetics.

Elements of Film Getting ready for the critique. Developing your Critique Writing a critique about a movie is more than just saying it was good or bad.

British Literature “It’s a weeping willow Wednesday!” April 30, 2008 Mr. Houghteling.

Portrait Photography is one of most common forms of photography. Portraiture, is the art of capturing a subject’s expressions The best portrait photographers.

Chapter 1: Film Structure This multimedia product and its contents are protected under copyright law. The following are prohibited by law: ä any public.

INTRODUCTION: REVIEW. What is Art?  Form of expression with aesthetic  Organize perception  A work of art is the visual expression of an idea or experience.

Hitchcock & Feminist Film Theory. Laura Mulvey Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in Mulvey’s article.

LITERARY THEORIES An Introduction to Literary Criticism.

The Gaze. The Optical Mirage-like, avoids depiction of three dimensions/hard outlines Does not acknowledge its status as a painted object Unites subjectivity.

PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law.

Chapter 2: Film Structure. The Production Process ä Pre-Production ä Production ä Post-Production.

Chapter 12: Models of Film Theory This multimedia product and its contents are protected under copyright law. The following are prohibited by law: any.

French New Wave. The French New Wave (or Le Nouvelle Vague) was a loose artistic movement whose influence on film has been as profound and enduring as.

Film and Media Studies 46 - Final Review Jeopardy Structure and Meaning Mise-en-Scene and Cinematography Sound and Editing Genre and Authorship Documentary.

Interpretive Criticism: reviews, interpretive essays, critical commentary.

Introduction to Film Theory Cinematic Realism vs. Montage Editing.

About… Laura Mulvey was born on the 15 th August 1941 and is known today as a British feminist film theorist. Mulvey was educated at St Hilda’s College,

Critical Approaches to Film Film & Feminism.

Arttalk Review for Chapter 2

What is Cinema? Critical Approaches Cognitivism. What inferences are we encouraged to make? On the basis of what prior knowledge? What emotions do we.

Film Criticism.

Summary: Style as a Formal System

Chapter 12. Criticism = assessment Theory = lens of assessment.

Feminist Critical Perspective  “I have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express.

Psychoanalytic approaches Week 9. Lecture outline i What’s involved in looking? ii Unconscious structures: Freud’s Oedipal Complex iii Unconscious structures:

 Realism depicts what is seen as it appears.  Realism in the visual arts is the depiction of subjects as they appear in everyday life, without embellishment.

Main works: The Interpretation of Dreams (1899) Three Essays on the Theory of Sexuality (1905) Totem and Taboo (1913) Civilisation and its Discontents.

Cinematography II: Elephant (Gus Van Sant, 2003)

Auteurism In English, Auteur means ‘Author’ which is why Auterism is the theory that a film has an author, whether that be the Director, writer, producer,

Visual Perspective Jaclyn Baglos.

Art Criticism and Aesthetics

Analyzing Visual Arguments

Chapter 13 MOTIVATION AND EMOTION

Portrait Photography 101 Some slides credit to JohnBarsby Photography.

PERCEPTION. PERCEPTION Labels Culture High Culture: cultural practices, materials, and behaviors that society has deemed elitist Low Culture: cultural.

Chapter 7: Modes of Screen Reality

Presentation transcript:

Chapter 11: Models of Film Theory

Basic Models of Film Theory ä Realist ä Auteurist ä Psychoanalytic ä Ideological ä Feminist ä Cognitive

Realist Theory ä Looks for correspondences between film images and the realities before the camera ä Restrictions on stylistic manipulation ä Andre Bazin ä Ethical formulation ä Deep-focus cinematography ä The long take ä Jean Renoir, Orson Welles

ä Bazin’s approach ä Strength ä Stress on ethical contract between filmmaker and viewer ä Weakness ä Typifies few films ä Deep focus, long takes, and montage may co-exist in a given film

Other Realist Models ä Documentary Realism ä Italian neo-realism ä Perceptual realism ä Basis for realism at perceptual level ä Three-dimensional visual/acoustic information ä Cinema conveys same information as found in everyday life ä Constrained by cinema’s transformative elements

Auteurist Theory ä The film director as author and artist ä A recognizable stylistic signature ä Consistencies of theme and visual design ä Alfred Hitchcock ä Strength: ä Helps legitimize the medium as an art ä Weakness: ä Attributional errors ä Filmmaking is collaborative

Psychoanalytic Models ä Derived from the writings of Freud and Jacques Lacan ä Cinema activates unconscious, non-rational pleasures and anxieties ä Voyeurism ä Fetish and taboo imagery

ä Strength ä Emphasis on the emotional power of cinema ä Emphasis on its ability to arouse desire and pleasure ä Weakness ä Based on ambiguous clinical data ä Tendency to over-extend its claims

Ideological Models ä Ideology – set of beliefs about society and the world ä Emphasizes how film portrays society and expresses ideologies ä Levels of ideological expression ä First order ä Rambo: First Blood Part II ä Second order ä Back to the Future

ä Ideological point of view: ä Support for established social values ä Critique of established values ä Conglomeration ä Mixed set of appeals and outlooks ä Enhances marketing to large, heterogeneous audiences

ä Strength ä Emphasizes relationship of film and society ä Exposes distorted portraits of social issues ä Weakness ä Tends to over-extend its claims ä Reduces films to ideological symptoms

Feminist Models ä Depiction of gender in film ä Connects this to social ideologies and practices ä Images of women (and men) in films made by men ä Alternative forms of feminist filmmaking ä May blend psychoanalytic and ideological elements

ä Strength ä Emphasis on the ways gender influences the production of images ä Weakness ä Gender is one of many filters on human experience

Cognitive Models ä Viewer perception of visual and auditory information ä Perceptual processing ä How viewers organize these perceptions and derive meaning from them ä Interpretive processing ä Schemas (frameworks of interpretation) ä Bases for a viewer’s understanding of cinema ä Perceptual correspondences ä Social correspondences

ä Strengths ä The theory is research-based, supported by empirical data ä By accounting for the intelligibility of cinema, the theory also accounts, in part, for the medium’s popularity ä Weakness ä Relative lack of attention to emotion ä Lack of attention to cinema’s transformative functions