"I write scripts to serve as skeletons awaiting the flesh and sinew of images." -- Ingmar Bergman * Find your movies at MoviesUnlimited.com * [ advertising space : webmaster ] 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 Directors Forum 2004: Sign * guestBook * View webmaster Film-North GeoAlaska: Theatre & Film Classes w/Anatoly DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies + textbooks Film Directing 101 (use the pages for THR470) *

Film & Movies, Part III -- Theory

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 ]

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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)!

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[ how to treat part 6 and 7 (Media) in the textbook? ]

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[ where is the borderline between directing 101 pages and film analysis? ]

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From required (definitions) to recommended = glossary main *

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Notes and comments pages are every directory and sub-directory * Go to Film600 directory!

Next: Film600

@2002-2003 film-north *

** Theory of Film by Siegfried Kracauer

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 Media (AFI Film Readers)

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 ]

film.vtheatre.net/forms

2009

Links to Page

An online course supplement * 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
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