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
He loses his position and sense of authority, which is an overriding theme displayed in the film. At this moment in time, we are very familiar with realist films which portray real-life society and events. In fact, realist films take root from the Kammerspiel film, a genre synonymous with Franz Murnau. The Kammerspiel film was essentially a realist drama, which mirrored life in Germany in the Weimar Republic after the Second World War. It was part of the wider Neue Sachlichkeit movement, which incorporated various art forms to capture and portray the mood of the German public in the post-World-War I period.
In other words, the medium of film itself is placed under inspection, so rather than only experiencing the subjectivity of its author, the subjectivity of cinema in general is made apparent. Corrigan relates self-refraction in cinema to the same mode in pre-existing media in the introduction to his chapter, by referring to the mode as “art through art… (that extends) “back through many centuries of literature and visual representation and forward into film history” (181). The difference Corrigan points out is the tendancy for self-refractive essay films to “aim at where aesthetic experience unwinds at the intersection of public and private life” (198). The self-refractive essayistic mode of filmmaking is a
This infers that the auteur theory applies to both these films. Furthermore, both the films seem to break the common conventions of Hollywood cinema, this can be seen in various sequences throughout the films. This would imply that these films could fall into the independent cinema category. This paper will analyze how the auteur theory can be applied to the films, Please Give and Friends With Money, and their common writer/director, Nicole Holofcener. Additionally, this paper will analyze how these films can be classified as independent cinemas, through various sequences seen throughout both films that break the common conventions of studio films.
Subjective photography movements respond to pictures taken in the Nazi era, and by providing models and describes the effects of their Alienation from Nazi ideology, and go to subjective photography toward modern art movements, that we could recognize as trends of surrealistic, testing, abstraction and metaphor. Which Had become the common points between the subjective photography and contemporary abstraction, subjectivity, and surreal clearer. The images that subjective Photography created retains characteristics photographic terms of a recording of visual reality at a given moment, any amendments visual that was added to the image was linked to what is available, which was accessible from the techniques of Photography, benefited from photography equipments and its process, a chemistry photograph work which bringing about the effects of amazing Pictures. The research problem is in the study of changes brought by the photographic movement in Germany in the form of self-image photographs, analyzing Vocabulary of those pictures, and study how to be addressed in these items, in the study of the most important pioneers of this movement, And the impact of their photographic vision of modern and contemporary art. Researchers used a descriptive approach to describe and document the vocabulary design of a photographic movement, and the most important outcomes of that movement that led to the development of concepts of artistic photographic vision in Germany, by showcasing subjective photography pioneers, like Herbert Bert Lee, Marta Heopffner , Carl struwe, Adolf Lazi ,Hermann Claasen, Chargesheimer, Helmut Lederer, Heinz Hajek Halke.
Interviewer: So Nina, you are saying that only a few narrative archetypes exist, but each is just conditioned and created differently to relate to their own contexts and time periods? There must be a reason filmmakers like to stick to these enduring formulas though, like the “Hero’s Transformation” example you used. Nina: As an audience watches a film, they
Classical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
However by doing this, does the documentary lose authenticity? I aim to analyse various techniques Gordon uses in structuring ‘The King of Kong’, and how they relate to classical Hollywood cinema. I will focus on the subjects’ portrayal and how he builds the characters and story, as well as filmmaking techniques he has used in line with structuring the documentary, for example editing choices. I will use this to focus on authenticity, and the balance Gordon places between entertainment and an accurate account of events. In Bordwell’s definition of classical Hollywood cinema, the narrative is focused on a goal-oriented protagonist: a hero who is drawn into a situation, which he must resolve in some way.
Sean Kelleher Prof. Thomas Kaplan-Maxfield Narrative and Interpretation EN133 Nietzsche, Freud, and Lacan: Painting the Psychoanalytic Portrait of Gustav von Aschenbach Psychoanalytic criticism, since its original entrance into psychology, social science, and literary society via the works of Sigmund Freud, Jacques Lacan, and Carl Jung offers an intriguing analysis and understanding of many characters that history has come to respect for their layered personalities and deeply questioning motives. Gustav von Aschenbach, the main protagonist in Thomas Mann’s novella Death in Venice, is ripe for psychoanalysis. Mann even admitted in a 1925 interview with the Italian newspaper La Stampa that Death in Venice itself “originated under the direct influence of Freud. Without Freud I would never have thought of treating this erotic motif,” he recalled, “or at least I would have treated it differently” (Dierks 1990, 284). Freud’s belief in the “id” (or, the set of uncoordinated, instinctual trends of the psyche), the “ego” (the more organized, realistic part of the psyche), and the “superego” (the socially-constructed, appropriate conscience) formed the first foundation for psychoanalysis in early 20th century psychology and, thus, in literary criticism.
Then they used a technical, if not scientific, methodology for painting the image captured on film. Observers could then react to the pure truth produced in the systematic process. Thomas Albright, an art critic for the “San Francisco Chronicle,” once said that “intervention between the painting and objects served to neutralize the original subject of the picture.” This art movement continued into the 1970s at its peak, and some artists continued the approach for the next few decades. Photorealism was international, not just limited to American artists. The leader of Photorealism in the 1960s was Richard Estes (b.