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Film & Movies, Part III -- Theory

III. Monaco -- Media

Film = Philosophy...

Yes, two-three years from now the three-part-organization of this directory can make sense; not now. Again, my thought behind the "1-2-3 structure" is rather simple: film (language), movies (use of it) and theory (theories). Or ART, CULTURE, IDEOLOGY.
Part 5: Form and Function (textbook)
Critic, Poet and Philosopher (388-394): differect functions and we USE film (society, history).

Theories and the chronology (overview in class)

Methods: a short list

.... Casestudy: Citizen Kane, 8 1/2, Wild Straberries, Dreams. "Cinema is not to be confused with the other arts, which aim rather at an unreality through the world; cinema transforms the world itself into unreality or story: with cinema, the world becomes its own image, and not an image which becomes world." Gilles Deleuze, Cinema 1: L'lmage-Mouvement, Chapter 4 (From my POV project)

[ a real challenge is to integrate the postmodern (POMO) theories and terminologies -- can I do it without developing Film600 directory? ]


cine101.com

God moves everything according to the mode of the thing moved: thus He moves the corporeal creature through time and place, and the spiritual creature through time, but not through place, as Augustine declares (Gen. ad lit. viii, 20, 22)[1]
[read Self and Film600 pages ]

Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)

Projecting Illusion : Film Spectatorship and the Impression of Reality (Cambridge Studies in Film) Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it provides the film spectator. Film affords an especially compelling aesthetic experience that can be considered as a form of illusion akin to the experience of daydream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film theory.
* Film Essays and Criticism (Wisconsin Studies in Film) One of the worlds leading film theorists, Rudolf Arnheim has been well known to readers of English since the publication of his classic Film as Art in 1957. This is the first English translation of another of his important books, Kritiken und Aufstze zum Film, which collects both film reviews and theoretical essays, most of them written between 1925 and 1940. As a young man in 1920s Berlin, Arnheim began writing about film for the satirical magazine Das Stachelschwein. In 1928, as the Weimar Republic began to crumble, he joined the intellectual weekly Die Weltbhne as film critic and assistant editor for cultural affairs. His most important contributions to both magazines are published here, including witty and incisive comments on many of the great classics of the silent and early sound period, such as Buster Keatons The General and Fritz Langs Metropolis. With the advent of Nazism in Germany, Arnheim emigrated first to Italy, where he wrote essays (many included here) for a nascent Enciclopedia del Cinema, and then to England and the United States. The thirty essays on film theory discuss elements of theory and technique, early sound film, production, style and content, and the relationship of film and the state. The fifty-six critical pieces include Arnheims thoughts on the practice of film criticism, his reviews of German, American, French, and Soviet films, and his profiles of Greta Garbo, Charlie Chaplin, Felix Bressart, Erich von Stroheim, and others. Also included in the volume are an introduction (newly revised by Arnheim) and a comprehensive bibliography. See Semio and other theory pages @ filmplus.org (use htmlgears)!
[ how to treat part 6 and 7 (Media) in the textbook? ]
[ where is the borderline between directing 101 pages and film analysis? ]
From required (definitions) to recommended = glossary main *
Notes and comments pages are every directory and sub-directory * Go to Film600 directory!
Film as Social Practice, 3rd Edition Film as Social Practice explores the feature film as entertainment, as narrative and as cultural event. Graeme Turner discusses the major theoretical issues surrounding the history of film production and film studies, using them to examine the cultural function of film and its place in our popular culture.
Turner considers issues of film institutions and their place in political culture, and the relevance of cultural theory from the US, UK and Australia in explaining the social practice of making, watching and talking about feature films.
This revised edition of Film as Social Pratice includes a selection of popular mainstream films such as Batman, Robin Hood: Prince of Thieves and Home Alone as well as new film stills. The book also incorporates theoretical material, includes feminist theory and the female spectator, and the arguments have been revised throughout to take account of recent developments in film and cultural theory and changing trends in cinema.
Next: Film600
New Film-Theory pages are @ Film600 directory!

@2002-2003 film-north *

** Theory of Film by Siegfried Kracauer

Siegfried Kracauer's classic study, originally published in 1960, explores the distinctive qualities of the cinematic medium. The book takes its place alongside works in classical film theory by such figures as Bela Balázs, Rudolf Arnheim, and André Bazin, among others, and has met with much critical dispute. In this new edition, Miriam Bratu Hansen, examining the book in the context of Kracauer's extensive film criticism from the 1920s, provides a framework for appreciating the significance of Theory of Film for contemporary film theory.

Siegfried Kracauer: An Introduction by Jeremy Gaines, Gertrud Koch; Princeton University Press, 2000 [ - Chapter 6: Space, Time, and Apparatus: the Optical Medium “theory of Film” ]
film glossary uk
 


  


New Vocabularies in Film Semiotics: Structuralism, Poststructuralism and Beyond (Sightlines)

New Vocabularies in Film Semiotics provides a comprehensive lexicon of semiotic concepts. It defines over 500 critical terms and describes how they have been used, building a film semiotics dictionary. The authors address key aspects of contemporary semiotic and cultural debate - Genette's narratology, the feminism of Mary Ann Doane, Bakhtinian concepts and the work of Jean Baudrillard. The book explores linguistically-oriented terminology in cinema studies; the semiotics of film narrative; the psycho-semiology of the cinema; and intertextuality, discourse and transtextuality. References to individual films drawn from the work of a wide range of directors including Orson Welles, D.W. Griffiths, Alain Resnais, Jean-Luc Godard, Alfred Hitchcock, Jean Cocteau and Chantal Akerman illustrate the concepts under discussion.

New Media (AFI Film Readers)

The mushroom-like growth of new media technologies is radically challenging traditional media outlets. The proliferation of technologies like DVDs, MP3s and the Internet has freed the public from what we used to understand as "mass media." In the face of such seismic shifts and ruptures, the theoretical and pedagogical foundations of film and TV studies are being shaken to their core. New Media demands a necessary rethinking of the field. Writing from a range of disciplines and perspectives, the scholars here outline new theses and conceptual frameworks capable of engaging the numerous facets of emergent digital technology.

Concepts in Film Theory by Dudley Andrew; Oxford University Press, 1984 : - 1: The State of Film Theory - 2: Perception - 3: Representation - 4: Signification - 5: Narrative Structure - 6: Adaptation - 7: Valuation (of Genres and Auteurs) - 8: Identification - 9: Figuration - 10: Interpretation

Philosophy of the Film: Epistemology, Ontology, Aesthetics by Ian Jarvie; Routledge & Kegan Paul, 1987 [ - Introduction: On the Very Idea of a Philosophy of the Film: Casablanca - Part One: Movies as a Philosophical Problem - 1: Knowledge and Existence - 2: Plato and the Cave - 3: The Golden Mountain, USDA Approval and Realism - 4: Films and Academic Philosophy - Part Two: Movies as an Aesthetic Problem - 5: Art and Science - 6: Aesthetics and Essentialism - 7: Arguments against Films as Art - 8: Films as Art - Part Three: Philosophical Problems on Film - 9: Philosophy - 10: Popular Philosophy - 11: On Interpretation - 12: Citizen Kane and the Essence of a Person - 13: Rashomon: Is Truth Relative? - 14: Persona: The Person as a Mask - 15: Woody Allen and the Search for Moral Integrity ]

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