for to speak film is partly to invent it!
Film as Drama, Part 2 -- Films * 2007 : new directories = doc + forms The Medium of the 20th Century, Language of the 3rd Millennium! Movies and Films * * Contribute -- and LUL -- *
"In feature films the director is God; in documentary films God is the director." -- Alfred Hitchcock

* Find your movies at *
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Search The Internet Movie Database

Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from

FILM -- Etymology: Middle English filme, from Old English filmen; akin to Greek pelma sole of the foot, Old English fell skin -- more at FELL Date: before 12th century (use webster dictionary at the bootom)

* Movies, list: recommended and required for THR334

THR334 Film Analysis

Directing 2003
in Directors Forum
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DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies + textbooks
Film Directing 101 (use the pages for THR470) *

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glossary * appendix * biblio * list * faq * links * popup * Make FILM w/ANATOLY your homepage -- click here!
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Film & Movies, Part II -- Films

Fall 2005
So, is it Movies or Films first, Anatoly? Yes, I'm tempted to start with the movies, because most of them you already saw. You know the movie-stars... and do not know directors. In our mass culture we call it "Tom Cruse" movie, not Bergman's film. Some of the them (movies) are very good (proper use of film language). Well, some people are educated, but not poets. Films = poetry of filmmaking. Movies = "film chat"...

[ see listing of (film) titles for class ]

Structuralism: forms = meanings (Marxism)
Postmodernism: film as philosophy.
From required (definitions) to recommended. Example: "movie" -- a representation (as of a story) by means of motion pictures , Synonyms -- cine, ||cinema, film, flick, motion picture, moving picture, photoplay, picture, picture show, show; Related Word -- cinematics, cinematography.

[ review again the first part: film and other arts ]

Read Part IV (textbook "How to Read a Film"): History (7 Ages of Film)

* Movies = economics

* Cinema = esthetics

* Film = politics (ideology)

Audience-intensive (novel) and technology-intensive (film)

Systems of Oppositions
Structure, Infrastucture (economics) , Superstructure (art)

1. Film is plural rather than unique = 2. that it is infinitely reproducible

A. the form of film is revolutionary.

B. the content is most often conservative of traditional values.

[ the dialectic between film realism and film expressionism: between film's power to mimic reality and its power to change it ]

National v. Global and Universal
the established myths of culture > national identity; male fantasy (from Marilyn Monroe to Madonna)

Sex = Violence * Taboos of the new folktales

* the end of the century (end of cinema): "one dead, the other powerless to be born." 282

"Genre v. Auteur": entertainment (dream and nightmare) v. dialectical film (dialogical).

the phenomenon of selebrity (star cinema): Iraqi War 2003 -- national v. international.

"In the age of mechanical reproduction fiction has a force it never had before." 266
... the content is most often conservative of traditional values, the form of film is revolutionary.
262 "the dialectic between film realism and film expressionism: between film's power to mimic reality and its power to change it." Epic Theatre traditions (including episodic structure)

* dichotomy between realism and expressionism: dialectic of mimesis/expression.

Citizen Kane
Spring 2003: Make it into a showcase. 1. Storyline (dramatic composition with the reversed chronology). 2. Character-oriented (American Cinema = Realism = Drama). 3. Cinematography (subjective camera, angles, deep focus, lighting, cuts?)

Docudrama (how Welles is using it).

2004 & After




in focus:


* super8
* classics
* independent

Tarkovsky -- Aesthetics

playsChekhov, Ibsen, Shakespeare

... Must be careful with aesthetics in film: we better get used to human physiology in film!

Well, kids, it will take some time for me to resolve my problems with the textbook (Esthetics vs. Aesthetics, "The Postmodern Sequel" and etc.) Since I am not teaching this course for a while, I can allow myself to mess up my film analysis webpages with my side-talking.

I regret that I cannot cross the line, when I speak of film as philosophy... It's established (Film-Philosophy online mag), but, NTL, as a parallel (or new, alternative) way of intellectual discourse. All I can do is go back to my POV non-fiction and continue write over there. Anatoly 2005

CODES: Reading the Image and Understanding the Image (Monaco 176-177)

* The image is experinced as both an optical and a mental phenomenon.

* We understand an image not only for itself, but in context: in relation to categories of choice (paradigmatic) and in relation to categories of construction (syntagmatic). [ new terms = right table + dictionary ]

Second Diagram: Space (Synchronic) > Frame and Time (Diachronic) > Shot

Montage and/or Mise-en-scene

film glossary uk


Next: Part 3 Media (including Internet)
Theory pages are @ film semio
@2002-2003 film-north *
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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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Jung and Film: Post-Jungian Takes on the Moving Image Jung and Film brings together some of the best new writing from both sides of the Atlantic, introducing the use of Jungian ideas in film analysis. Illustrated with examinations of seminal films including Pulp Fiction, Blade Runner, and 2001 - A Space Odyssey, Chris Hauke and Ian Alister, along with an excellent array of contributors, look at how Jungian ideas can help us understand films and the genres to which they belong. The book also includes a glossary to help readers with Jungian terminology. Taking a fresh look at an everchanging medium, Jung and Film is essential reading for academics and students of Analytical Psychology, as well as Film, Media and Cultural Studies.
film glossary uk


Teaching Scriptwriting, Screenplays and Storyboards for Film and TV Production (Bfi Teaching Film and Media Studies) This practical guide provides everything you need to introduce scriptwriting to your students, and establishes the basis for a high standard of coursework for Film or Media Studies. The guide demonstrates how scriptwriting, screenplays and storyboarding can be valuable both in the production context and as a way of engaging with key aspects of the media or film studies curriculum, with accessible reference to key critical and theoretical writing.

Use the known commercials to demostrate the samples of ICON, SYMBOL, METONOMY, TROPE and Index...

The brands -- Coca-Cola, Mac, cars...

metanomy -- associate details invote an abstract idea.

synecdoche --

The trope --

... and "Kuleshov Effect" phenomena againg? 2005:

* Movies, list: recommended and required for THR334

An online course supplement * 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations * film-north blog
© 2007 by Permission to link to this site is granted. Bookmark FILM-NORTH +

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