"I write scripts to serve as skeletons awaiting the flesh and sinew of images." -- Ingmar Bergman
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 imdb.com. ![]() THR334 Film Analysis Directing 2003 ![]()
Classes w/Anatoly
DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies + textbooks ![]() Film Directing 101 (use the pages for THR470) *
Featured Pages: Film Directing
2007 : tarkovsky.wetpaint.com *** [join]
new 2006 : flickr.com/groups/film-art + cinema german, italian & french
DIRECTORIES:
* Books on this page (linked to Amazon) are RECOMMENDED reading only! Film as Philosophy: new forms of discourse SummaryRead 200X Files on visual literacy.How to continue the trend (movies = economics, film = politics, cinema = esthetics) in part 5 (film theory)? QuestionsThe Critic v. The Poet and the Philosopher?Expressionism v. Realism (where is existentionalism? in the philosopher?) HomeworkRead film-philosophy webpages (POMO notes in POV, for example).Pages on Foucalt, Deleuze and Virilio. NotesI haven't even touch the new subdirectories (1, 2, 3); I only hope that I can build those pages during the Spring 2003 semester.
Marxist film theory is one of the oldest forms of film theory: Sergei Eisenstein and many other Soviet filmmakers in the 1920s used Marxism as justification for film. In fact, the Hegelian dialectic was considered best displayed in film editing through the Kuleshov Experiment and the development of montage. wikipedia *
German Marxist film makers had, however, been behind the development of subjective point of view camera angles, and they believed that it was possible to discomfit bourgeoise audiences with the very tools of bourgeoise illusionism. Hence, F. W. Murnau, among others, would use Expressionist techniques to force viewers into seeing through the eyes of working class figures ("The Last Laugh"). Fritz Lang, though not a Marxist, would tell a sympathetic tale of a child murderer in "M."
French Marxist film makers, such as Jean-Luc Godard, would employ radical editing and choice of subject matter, as well as subversive parody, to heighten class consciousness and promote Marxist ideas.
Situationist film maker Guy Debord, author of The society of the spectacle, began his film In girum imus nocte et consumimur igni [Wandering around in the night we are consumed by fire] with a radical critique of the spectator who goes to the cinema to forget about his dispossesed daily life.
Situationalist film makers produced a number of important films, where the only contribution by the situationalist film cooperative was the sound-track. In Can dialectics break bricks? (1971) a Japanese samurai film was transformed by redubbing into an epistle on state capitalism and anarchist revolution. The intellectual technique of using capitalism's own structures against itself is known as detournment.
Some later Marxist critics saw the very cinematic apparatus to be infused in the capitalistic ideology which no film can escape.
The Cognitive Semiotics of Film
Film-Philosophy Writings * 2007 ...
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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.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.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 ]* 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)!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.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.)
[ 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!
@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” ]
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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 ]
film.vtheatre.net/doc [ documents database ]
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An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
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