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Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
Film Art Chapter 2
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Film Art Chapter 2

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  • 1. Chapter 2 The Significance of Film Form © 2010 McGraw-Hill Higher Education. All rights reserved.
  • 2. Form as a System <ul><li>Artwork cues us to perform an activity. </li></ul><ul><li>The cues are a system that can be analyzed. </li></ul><ul><li>Form can be content. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 3. Form and Expectation <ul><li>By building expectation, form can deliver many reactions. </li></ul><ul><li>Shock, surprise, satisfaction, and suspense all build upon the viewer’s assumptions. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 4. Conventions and Experience <ul><li>Conventions are based on the viewer’s prior experience. </li></ul><ul><li>Artwork can create new expectations and conventions. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 5. Form and Feeling <ul><li>Emotions within the artwork and emotional responses from the viewer can interact. </li></ul><ul><li>This relationship can be complicated and affected by personal experience. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 6. Form and Meaning <ul><li>Referential: meanings within a film that rely on familiarity with significant places or things. </li></ul><ul><li>Explicit: meanings that are openly asserted. </li></ul><ul><li>Implicit: an implied or interpreted meaning. </li></ul><ul><li>Symptomatic: an abstract, general meaning that depends on social ideology. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 7. Evaluation <ul><li>Criteria should guide objective evaluation </li></ul><ul><li>Personal taste and “goodness” or “badness” does not enter in to evaluation. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 8. Principles of Film Form <ul><li>A unified set of related, interdependent elements that create relationships between the parts. </li></ul><ul><li>Many are a matter of convention. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 9. Function <ul><li>Every element within a film can have one or more function, fulfilling role(s) within the whole system. </li></ul><ul><li>Consider an element’s motivation when looking for significant functions. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 10. Similarity and Repetition <ul><li>A significant element that is repeated in a film is a motif. </li></ul><ul><li>Patterns of motifs create expectation. </li></ul><ul><li>Strong similarities and repetition can created parallelism. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 11. Difference and Variation <ul><li>Changes and variations of elements can create variety, contrast and change. </li></ul><ul><li>Seldom does repetition occur in exactly the same way in a film, and the differences can be meaningful. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 12. Development <ul><li>A progression moving from beginning to middle to end. </li></ul><ul><li>A segmentation can point out similarities, differences and progression. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.
  • 13. Principle #5: Unity/Disunity <ul><li>How relationships among elements come together or do not. </li></ul><ul><li>Creates broad patterns and thematic meanings. </li></ul>© 2010 McGraw-Hill Higher Education. All rights reserved.

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