Midterm Review - Film criticism vs film theoryFilm Theory...

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Film criticism vs. film theory - Film Theory - Philosophy of film criticism describes a phenomenon that requires genuine removed reflection and a sophisticated highly engaged spectator. It is a way of thinking about thinking. It includes productive generalizations. It is a systematic way of thinking, and exists between laws and speculation). Film criticism - Anticipates an average viewer, timelier, more specific Dialectical montage (Eisenstein) - The shot is a cell of the montage. Dialectical montage is the dynamic conception of objects. There is potential conflict energy between two cells or shots. Art is always in conflict just like life. Nature + Industry=Art. Human expression is the conflict between condition and unconditioned reflex. Acting is editing, not performance. It is the collision of opposing forces to create one new meaning. Thesis + Antithesis= totality or wholeness. Formation is analogous to psychological expression; gradual succession is the same as the process of logical deduction. Elements of montage(Eisenstein) - Popular in soviet film, the unruling of an idea through single shots; derives from collision between two shots independent of each other trying to derive whole essence and technical foundations. Each cell of montage arranged on top of previous sensation of movements from the process of superimposing unretained impression. The eye retains visual impression and then collides with the impression of the second element (the second shot). Conflict creates dynamic effect and abstract concept. Decomposition of process of movement makes process of identification easier. Juxtapose two representational shots that correspond to a concept and create figurative effect. For example, in Strike, Eisentstein compares every character to an animal (he would show a man, then dissolve into a shot of a monkey and those two together comprise into an impression that the character will act like a monkey). Continuity editing - style of editing marked by its emphasis on maintaining a continuous and seemingly uninterrupted flow of action. For example, match-on-action and graphic match cut. Historical spectator(Gunning) - Gunning attempts to correct the misconception of the historical spectator. Panic and hysteria- actually believing a train is about to hit them. They are in awe of the movement and illusion. The misconception is that the images are perceived as real. However, Gunning introduces the cinema of attractions where people are really fascinated by the incredible nature of illusion and the astonishing moment of movement. In the late 19 th century, there was a fascination with magical theater; to make visible something beyond logic and experience. Astonishment comes from the vacillation between belief and doubt. Basically, the first spectator experience was not a child-like belief in the impending speed of a train, but the awareness and delight in films’ illusionistic capabilities.
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