Study_Guide_#11

Study_Guide_#11 - Study Guide 11 Film Theory and Criticism...

Info iconThis preview shows pages 1–2. Sign up to view the full content.

View Full Document Right Arrow Icon
Study Guide # 11 Film Theory and Criticism FTVDM 188B Prof. Deland Nuse Film Theory – A Brief History By the 1920’s many intellectuals and scholars realized that cinema was much more than a simple-minded mass media product and they began to write seriously about the nature of the new art form. Unsurprisingly, these early film theorists tended to view film from either a Realist or a Formalist perspective and they endeavored to answer the following questions in their attempts to understand the essence of the new art form and to think about its creative possibilities. The Critical Questions 1. What is the “raw material” of film? 2. What are the “methods and techniques” that shape the raw material? 3. What are its “forms and shapes,” i.e. what kinds of films are being made and what kinds of films might possibly be made within the limits of what can be defined as film? 4. What is the ultimate “purpose and value” of film, as an art, and as a cultural force? As with any living, breathing, dynamic art form, whose techniques are continually undergoing change and innovation, these questions are still relevant today; and in fact, they are the very issues that we have explored in our class. The First Film Theorists Formalists Hugo Munsterberg – A Gestalt Psychologist, Munsterberg argued that it is the illusory nature of the film experience was its most salient characteristic. For Munsterberg, cinema is the Art of the Mind . Not a surprising theory for a Gestalt Psychologist interested in how parts become larger wholes in human sensation and perception. Rudolf Arnheim – With his background in art criticism and perceptual psychology, Arnheim shared many of Munsterberg’s ideas, but he took them to extremes. Arnheim felt that cinematic art is achieved only when its material limitations are utilized to create perfect illusionism . He disapproved of using sound, color, and other elements of realism, and he strongly held to the belief that cinema had found its perfect form in the late 1920’s at the height of the silent era. He essentially felt that cinema was no longer an art form after it became burdened with sound and he abandoned his writing about cinema for many decades. Sergei Eisenstein
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
Image of page 2
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}

Page1 / 4

Study_Guide_#11 - Study Guide 11 Film Theory and Criticism...

This preview shows document pages 1 - 2. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online