The Auteur Theory: Alfred Hitchcock (1899-1980) This essay is going to discuss director Alfred Hitchcock is an auteur in film. First, there will be an introduction of Auteur Theory. After that, an introduction of Director Alfred Hitchcock would be presented. This essay is going to focus on personal style and interior meanings of Hitchcock’s work. The meanings were presented by Mise-en-scene, montage and story plot.
Firstly, the analysis will focus on the dramaturgical composition of the film and how the participants (the ‘bunkers’) have been perceived in theory and practice. Secondly, the interview techniques will be examined and how they are used, illustrated and perceived in the film, as well as how visual effects and other techniques are used in the film. Thirdly, the moving picture’s composition will be discussed, and the way the film presents a picture and is edited to present its message to the viewers is also analyzed. Finally, a summary of the findings will be presented. 2.
It is from this vantage point that one needs to assess all characteristics of film, including the development of sound. Accordingly, the central query for such an appraisal must be how does this particular property (sound) contribute or detract from the medium’s intended effect? Münsterberg’s early death notwithstanding, one can hypothesize from chapter nine of his work The Photoplay: A Psychological Study as to his probable judgment concerning sound in cinema. The Means of the Photoplay, as Münsterberg coined this portion of his study, refers directly to the modes of perception that give film its unique elegance as an art: the aesthetic and psychological. From these two analyses, Münsterberg declares a formative principle: We recognized there that the photoplay, incomparable in this respect with the drama, gave us a view of dramatic events which was completely shaped by the inner movements of the mind…
This article seeks to specifically investigate the influence of Lacanian psychoanalysis on film theory. Its development will be traced in two articles through classic film theory, the role of Karl Marx and Louis Althusser, the contributions of semiotics, the debates surrounding apparatus theory and the gaze, and finally the input of feminism. While this type of broad overview has been attempted in many general introductions to film theory, it is hoped here to provide a rough sketch of its formative stages of development, while filling in the detail on a number of significant issues that highlight Lacan’s influence. Classic Film Theory It was not until after the First World War that it became possible to identify two particular groups within film criticism. Spearheading the first of these groups was the figure of Sergei Eisenstein, whose film-making and theoretical essays in the 1920’s established a conception of the role of the cinema as a primarily aesthetic one.
” Alexandre Astruc In 1948 Alexandre Astruc wrote an article “The birth of a new Avant-Garde: Le Camera Stylo”, in which he expressed the future of cinema will adopt a more personal touch from the film maker, in that, he/ she will “express his thoughts no matter how abstract they can be“ through cinematic language. This gives directors now the opportunity for them to reflect their own style in the way the film is shot, and it also gives them a chance to express any views or thoughts they may have on society and even on life. This type of film making which conventions are the antitheses to mainstream Hollywood cinema, would be called ‘New Wave Cinema’. In this essay I will compare and contrast the stylistic qualities of these new waves films (narrative structure, cinematography, and editing), made 40 years from each other and see how the director has made the film personal to him and what comment on society is making. Breathless (1960) by Jean Luc Godard is the most revolutionary movie of the French New Wave movement.
Our study will explain and interpret the meaning or the significance behind those components, and by then try to connect the shot to the themes of the film. Tony Scott applies several genre specific editing techniques, which accordingly suture the audience to the stories multiple levels. Tony Scott is mixing up the sound effects, which links the audience to the drama and the history of the movie, providing a coherent structure. 00:45-1:00 In the first scene of the movie we are presented with the main character “Domino” (Keira, Knightley). In terms of Mise-en-scene our eyes are firstly attracted to Keira, who is lighting up a cigarette.
The purpose of this essay is to provide definitions for the terms agency and structure. This essay will also outline and discuss the key themes and ideas of the film ‘Super Size Me’. I will personally evaluate the film; identify the key points and comment on how well I believe they presented their concerns to the audience. Finally, a critical evaluation of the key themes and ideas behind the film ‘Super Size Me’ will be made in relation to the agency/ structure debate. Carillo (2000) defines agency as “the ability to make decisions with respect to what an individual does, with respect to controlling their own life”.
Film’s multimodal capacity to assert, describe and depict 1. Introduction 1.1 Overview It is the intention of this paper to illustrate how film’s multi-modal affordances allow some capacity to assert as well as depict. If the language of cinema is acknowledged then the issue becomes one of enquiring into the differing nature of description and assertion within film and the novel. Therefore, the paper will argue the case for the centrality of text and sound within cinema. In the analysis, examples will be drawn from a range of sources to contrast the inferential requirements of portrayals in each medium.
Kuleshov’s statement, as it appears in the title for this essay, clearly attempts to define what cinematography is through the means of ‘montage’. These two facets, montage and cinematography, are huge driving forces behind film, its message, and how it affects any given audience. It is, therefore, important to explore this powerful declaration from such a notable mind in the world of film and image making in general. Andrew (1976, p. 5) suggests: Film theorists make and verify propositions about film or some aspect of film. They do so for both practical
As Patricia Pisters (2003) asserts in her study of Deleuze and film theory The Matrix of Visual Culture, the Wachowski brothers’ film can be read from number of different theoretical perspectives. It invites readings via Lacanian psychoanalysis, Platonic notions of the cave and the disparity between the two strata of perception and also as a “New Age” (Pisters, 2003: 11) quasi-religious evocation of the second coming. However, here I would like to place the film’s visual sense and diegesis into a context of postmodern philosophy; drawing inferences and theoretical connections between the film and the work of Jean Baudrillard, Walter Benjamin and the neo-Marxists of the Frankfurt School, most notably Adorno and Horkheimer in Dialectic of Enlightenment (1979). The importance of postmodern philosophy and cyber culture to the visual sense of The Matrix is declared from its very opening titles. Random strings of green neon data are scrolled against a black background imbuing the viewer with a sense of the virtual and the cybernetic and this is concretised and given definite focus later on as Neo (Keanu Reeves) hides the two thousand dollars given to him by Anthony in a copy of Simulacra and Simulation by Baudrillard.