Film Theory
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Film theory explores how film relates to reality and other art forms, as well as how individual viewers and society experience film. Some early contributors to film theory include French philosopher Henri Bergson in the early 1900s and directors from the silent film era who emphasized how film differs from reality. In later decades, film theory drew from disciplines like psychoanalysis, gender studies, and linguistics. Recent film theory has reexamined concepts like how celluloid captures moments in time and has offered new perspectives on gaze and early cinema spectatorship.
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(mis)behavior of images
Eisenstein sought to control spectators through film editing and montage techniques to influence their psychophysiology and thinking. However, his efforts also unintentionally placed cinema in a role of imposing control over passive audiences. While Eisenstein aimed to liberate viewers, his works ended up both committing violence against spectators by objectifying them and transforming spectators into transparent images detached from reality. Contemporary media images now seem satisfied with only slight acknowledgment from disengaged viewers, demonstrating how difficult true spectator control is, though Eisenstein's experiments revealed how images can influence human evolution and behavior.
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The document discusses some key concepts from postmodern media theory, including hybridity, bricolage, simulation, intertextuality, and disjointed narratives. It provides examples to illustrate each concept, such as how MIA's "Paper Planes" is both a hybrid song sampling various genres and a case of bricolage through its association with the film Slumdog Millionaire. The document aims to help readers identify these postmodern aesthetic elements in media texts.
Modes of documataines me
Bill Nichols identified six modes of documentary filmmaking: poetic, expositional, observational, participatory, reflexive, and performative. Each mode represents a different style with varying levels of narration, engagement between filmmaker and subjects, and acknowledgement of documentary's constructed nature. While influential, Nichols' modes have been criticized by some for being too rigid and not acknowledging that many documentaries incorporate multiple modes.
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Surrealism emerged from the Dada art movement in the early 20th century. Surrealist films aimed to explore taboo topics like sex and religion by using unconventional editing techniques that juxtaposed random objects and events. Two influential early surrealist films were Un Chien Andalou (1929) and L'Age D'Or (1930) directed by Luis Bunuel, which featured surreal imagery and disrupted narrative continuity. While surrealism aimed to be free-form, filmmaking requires planning, raising questions about whether the medium is suited for surrealist ideals. The films of Jan Svankmajer provide an example of highly planned surrealism that was still anti-establishment.
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This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
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The Origins of the Dwayne Johnson Kidnapping Saga
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The Moment of Capture
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