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This document discusses Sergei Eisenstein's dialectic approach to film form. It explains that Eisenstein believed montage is not just the rhythmic placement of shots, but arises from the collision of independent shots. It outlines different types of conflicts that can be used within the film form, including graphic, spatial, light, and temporal conflicts. The document also discusses pictorial symbolism in film and how symbols can be used to represent emotional dynamization and show psychological effects. Overall, the summary focuses on Eisenstein's view that nature and film form result from the conflict and synthesis of opposing elements through the use of montage and symbolism.
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Film theory film form group 4 complete (1)
This document discusses a dialectic approach to film form. It proposes that a montage arises from the collision of independent shots rather than a rhythmic sequence. It also claims that the popular conception of movement in film coming from sequential still images blending is mistaken. The document outlines different types of conflicts that can be used in film form, including graphic, plane, volume, spatial, light, and temporal conflicts. It discusses pictorial symbolism and emotional dynamization in film to convey meaning and psychology.
Film theory film form group 4
This document discusses a dialectic approach to film form. It explains that a montage is created through the collision of independent shots and expresses ideas. There are different types of conflicts that can be used within film form, including graphic, spatial, light, and temporal conflicts. Understanding pictorial symbolism, emotional dynamization, and the dialectic nature of montage can provide insight into analyzing film problems. A dialectic approach presents an ideology by associating opposing elements through film techniques like montage.
Film theory film form group 4 complete
This document discusses Sergei Eisenstein's dialectic approach to film form. It explains that a dialectic approach presents an ideology by associating two opposing elements through techniques like montage. Montage involves placing single shots sequentially to create a rhythm or idea. Eisenstein believed montage results from the collision of independent shots rather than their blending. The document also outlines different types of conflicts that can be used in film form, including graphic, spatial, light, and temporal conflicts. Pictorial symbolism and emotional dynamization are discussed as ways to convey meaning and psychology in films.
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Montage editing involves juxtaposing different shots together to create a new meaning greater than the individual parts. Alfred Hitchcock said montage allows editors to create ideas and emotions by piecing film clips together. Examples of films that used montage editing techniques include October by Sergei Eisenstein and Modern Times by Charlie Chaplin. Point-of-view editing shows what a character is looking at by cutting between a shot of their face and what their eyes are focused on, sometimes followed by their reaction. The Godfather uses the Kuleshov effect and parallel editing techniques effectively.
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Film theory film form group 4 complete (1)
This document discusses a dialectic approach to film form. It proposes that a montage arises from the collision of independent shots rather than a rhythmic sequence. It also claims that the popular conception of movement in film coming from sequential still images blending is mistaken. The document outlines different types of conflicts that can be used in film form, including graphic, plane, volume, spatial, light, and temporal conflicts. It discusses pictorial symbolism and emotional dynamization in film to convey meaning and psychology.
Film theory film form group 4
This document discusses a dialectic approach to film form. It explains that a montage is created through the collision of independent shots and expresses ideas. There are different types of conflicts that can be used within film form, including graphic, spatial, light, and temporal conflicts. Understanding pictorial symbolism, emotional dynamization, and the dialectic nature of montage can provide insight into analyzing film problems. A dialectic approach presents an ideology by associating opposing elements through film techniques like montage.
Film theory film form group 4 complete
This document discusses Sergei Eisenstein's dialectic approach to film form. It explains that a dialectic approach presents an ideology by associating two opposing elements through techniques like montage. Montage involves placing single shots sequentially to create a rhythm or idea. Eisenstein believed montage results from the collision of independent shots rather than their blending. The document also outlines different types of conflicts that can be used in film form, including graphic, spatial, light, and temporal conflicts. Pictorial symbolism and emotional dynamization are discussed as ways to convey meaning and psychology in films.
Montage and Kuleshov Effect
Montage editing involves juxtaposing different shots together to create a new meaning greater than the individual parts. Alfred Hitchcock said montage allows editors to create ideas and emotions by piecing film clips together. Examples of films that used montage editing techniques include October by Sergei Eisenstein and Modern Times by Charlie Chaplin. Point-of-view editing shows what a character is looking at by cutting between a shot of their face and what their eyes are focused on, sometimes followed by their reaction. The Godfather uses the Kuleshov effect and parallel editing techniques effectively.
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This document discusses the film editing technique of montage. It begins by defining montage as a technique that combines short shots or clips into a sequence, often set to music, to imply the passage of time or simultaneous events. It then provides examples of how montages can be used to evoke different emotions in different genres. The document goes on to discuss the development of montage, from its origins in Soviet film theory to its widespread use in modern Hollywood films. It also outlines some common montage techniques like quick cuts, voiceovers, and music. In conclusion, the document emphasizes the important role montage plays in film editing and storytelling.
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2. The second part introduces Scottie and his acrophobia through footage of him becoming incapacitated while chasing a criminal. It establishes themes of obsession, identity, and suspense that are central to the film. The sequence uses music, shots, and conventions to immerse the viewer in these psychological elements.
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This document discusses a dialectic approach to film form. It proposes that a montage arises from the collision of independent shots rather than from their rhythmic placement. It also claims that the popular conception of montage as blending shots to create movement is misguided. The document outlines different types of conflicts that can be used in film form, including graphic, spatial, light, and temporal conflicts. It advocates a dialectic approach to film form that presents an ideology by associating opposing elements through montages and symbolism.
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Lev Kuleshov was a Soviet film theorist and director who developed the theory of montage, which is the editing and juxtaposing of film shots to imply meanings and tell a story. He conducted the famous Kuleshov Effect experiment to demonstrate how montage can manipulate audience perception. Sergei Eisenstein expanded on Kuleshov's theories of montage, identifying five types: metric, rhythmic, tonal, overtonal/associational, and intellectual/ideological. Montage uses editing techniques to condense time and meaning in a film through rhythmic pacing and juxtaposing of images or ideas.
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Eisenstein was a pioneering Russian film director who developed the theory of montage, where juxtaposing edited images can create new ideas beyond the individual shots. He believed editing shots together could make the whole greater than the sum of its parts. Eisenstein best demonstrated this in the famous "Odessa Steps" sequence of his 1925 film Battleship Potemkin, where rapidly cutting between shots of a crowd fleeing down steps stretched out the sequence for greater visceral impact and manipulated the audience's perception of time.
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Soviet filmmakers developed a theory of montage that differed from its use in European film. They experimented with juxtaposing images to jolt viewers' awareness of film form and have them actively interpret relationships between shots. Directors like Eisenstein and Vertov aimed to use montage to address cultural issues beyond just aesthetics or narrative, influencing viewers' critical thinking about society and history.
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A thriller uses suspense, tension, and excitement through elements like plot twists and cliffhangers to keep audiences engaged. Technical elements include quick cuts and changes in camera angles to build tension. Mise-en-scene features include props like weapons and costumes with dark colors. Sound design uses silence and screams to suggest fear. The narrative structure builds complications until a climax and resolution. Camera techniques like close-ups, tracking shots, and rule of thirds compositions are employed.
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The document provides information about the film Equilibrium including:
1) It introduces the film Equilibrium, which is set in a dystopian future where emotions have been outlawed and suppressed.
2) It lists the main cast members of the film including Cleric Preston, Partridge, Brandt, and Mary.
3) It provides context about the film's genre, which is a science fiction film that explores novel concepts around suppressing emotions in society.
Types of generic conventions
The document discusses several generic conventions commonly used in horror films, including mise-en-scene, setting, visual style, theme, ideology, characters, stereotypes, narrative, iconography, cinematography, special effects, and sounds. Mise-en-scene refers to everything visible within the frame, while setting describes the location in which the film takes place. Visual style is the director's visual approach and commonly includes elements like shadows and low lighting in horror. Common themes in horror include fear and isolation. Character archetypes in the genre often appear strange or creepy. Special effects and unsettling sounds are employed to make scenes or creatures seem more terrifying.
Media language
This document discusses key aspects of media language in film through quotes from famous directors and definitions of cinematic techniques. It provides quotes about film's ability to manipulate time from Tarkovsky and its betrayal of reality from Truffaut. Directors like David Lean and Federico Fellini discuss their storytelling through film. Techniques defined include mise-en-scene, mise-en-shot, editing styles like continuity and montage, and uses of diegetic and non-diegetic sound.
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This document discusses visual semiotics and how images create meaning. It explains that semiotics is the study of signs and how they produce meaning through interaction with viewers. Key aspects of signs discussed include denotation, connotation, signifiers, and signifieds. The document also covers principles of analyzing semiotic systems and types of signs like icons, symbols, and indexes. Additionally, it describes how meaning comes from sign systems or codes. Finally, the document discusses theories of how layout constructs meaning through information value, salience, and framing.
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The document discusses the opening title sequence of the film Vertigo. It is summarized in two parts:
1. The first part introduces the character of Madeline through a mixture of live action footage and graphics. Images of her show anxiety and being watched, reinforcing themes of identity, gazing, and the mind.
2. The second part introduces Scottie and his acrophobia through footage of him becoming incapacitated while chasing a criminal. It establishes themes of obsession, identity, and suspense that are central to the film. The sequence uses music, shots, and conventions to immerse the viewer in these psychological elements.
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All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
Film Language
This document provides an overview of the development of film theory and criticism from the early 20th century onwards. It discusses key theorists and concepts such as Griffith inventing montage in the 1910s, Eisenstein's collision montage in the 1920s, Pudovkin's linkage montage, Bazin's rejection of montage in favor of mise-en-scene in the 1940s-50s, structuralism and semiotics in the 1960s-70s, and debates around narration, iconography, and the shot/reverse shot sequence. The document traces how understanding of film as a language was established and refined over this period.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Lesson 9 narrative
This document provides information on narrative structure and analysis for two American films from the same genre. It defines key terms like protagonist, antagonist, narrative, and story. It discusses Aristotle's and Todorov's theories of narrative structure. It also covers narrative devices, binary oppositions, Propp's character types, and how character motivations and conflicts drive narrative. The purpose is to equip students with tools to compare and critically analyze the narratives of two American films from the same genre for an exam.
2017 05 571
The document discusses various concepts related to story structure and narrative techniques including Robert McKee's principles of inciting incidents, Joseph Campbell's hero's journey monomyth, and an analysis of the structure of the 2011 film Rideshare. Key points covered include the importance of an inciting incident that upsets the protagonist's status quo, using story beats like crisis points and climaxes to drive the narrative, and analyzing Rideshare's plotline through this structural lens. The document also touches on other concepts like point of view, figurative language, and Aristotelian distinctions between mimesis and diegesis in storytelling.
5. representative theories
This document discusses several theories of representation in visual media:
- Causal relation theories explain representation through the causal link between the object and its depiction, such as in photographs. Recognition theory also emphasizes causal links and resemblances.
- Resemblance theories argue representation relies on perceptual or non-perceptual similarities between the depiction and object.
- Convention theory holds that representation depends on symbolic conventions that link depictions to their subjects.
- Mental construction theories like illusion, make-believe, and seeing-in propose that representation involves imaginative or cognitive processes in how viewers engage with depictions.
The document concludes that future work could synthesize ideas across semiotics, phenomenology, and rhetoric
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Group 4 Presentation
- 1. A DIALECTIC APPROACH TO FILM FORM
- 2. GROUP 4 Dominique Alford Sarah Woubneh Kelsey Fitzsimmons Shanera Leon Sean Kneese Evan Klein
- 5. SOCIAL MISSION “…to cause the mind to think and to question what its seeing”.
- 6. NATURE “the difference between what is real and what is created”.
- 7. A montage is a basic element of cinema and established by Soviet film as the “nerve of cinema” A montage is when single shots are placed one after another and the movement of these shots are said to create a rhythm Known as the “epic principle” a montage is the means of unrolling an idea with the help of single shots
- 8. However the author does not agree. He says that describing a montage in this way means defining a given object solely in relation to the nature of its external cause He believes a montage has more of metric relationship rather than rhythmic In his opinion, a montage is an idea that arises from the collision of independent shots
- 9. “We know that the phenomenon of movement in film resides in the fact that two motionless mages of a moving body, following one another, blend into an appearance of motion by showing them sequentially at a required speed” The author claims this description of blending has the responsibility for the popular misconception of the nature of montage previously noted
- 10. CONFLICT AND MONTAGE Manifestation can mean that the shot is not an element of montage or the shot is a montage cell. In this formulation there are division of Sub-title and Shot Shot and Montage.
- 11. There are 3 different phases to the homogeneous task of expression. 1. Purely Verbal Utterance – without intonation expression in speech. 2. Gesticulatory Expression – projection of the conflict onto the whole expressive bodily system of man. 3. Projection of the Conflict into Space – zigzag mimic expression is propelled into the surrounding space following the same formula of distortion.
- 12. TYPES OF CONFLICTS WITHIN THE FORM CHARACTERISTIC Graphic conflicts Conflict of planes Conflict of volumes Spatial conflict Light conflict Temp conflict Conflict between matter and view point – spatial distortion through camera angle Conflict between matter and its spatial nature – optical distortion by the lens Conflict between and event and its temporal nature – slow and stop motion Conflict between the whole optical complex and different space
- 13. THIS WILL GIVE US AN UNDERSTANDING OF THE FILM PROBLEM
- 14. PICTORIAL SYMBOLISM Symbols or photographs The purpose of pictorial symbolism is to note important details of film stories Pictorial must be learned and deciphered and depending on the meaning behind pictures and the culture that created the pictorial
- 15. EXAMPLE PHOTO
- 16. EMOTIONAL DYNAMIZATION Dynamization: Expresses psychology emotional in films that becomes emotional dynamization Symbolism: symbols that show emotional effects in the movie Stylistic gesture Harp sequences (Sad Results) Purely dynamic (Positives Result) Cutting montage- cutting images from movies http://www.slideshare.net/shaneral/powerpoint-31866780
- 17. Eisenstein believed that nature’s eternal fluctuation is dialectical- the result of the conflict and synthesis of opposites Dialectic approach is an approach to film form that presents an ideology by associating two opposing elements Two separate concrete objects can be associated to create a symbol Unlike painting that uses abstract lines and colors, film relies more on concrete images within the frame