Knowt
Note
Studied by 26 people
Anderson Chapter 1 =
Understanding Film Theory
The Paradox of Film
Inconsistency in Film: The paradox in film lies in its simultaneous capacity for realism and its denial of reality.
Early Film Theorists - Hugo Munsterberg. What are his key contributions?
Founded German - American psychology
applied scientific experiments in psychology to film theory (examined how the mind perceives and reacts to cinematic stimuli)
viewed film as similar to the structuring processes of the mind
The first film theorist - 1916
Key contributions:
Pragmatic Approach: Practical approach to psychology. Believed that psychology should have real-world applications. Used a-lot for political leaders and film theory/making. (Anderson likes this)
Combining Film Theory and Psychology: He had a huge interest in film if you want to understand how the human mind works. He saw filmmaking as a fascinating medium for studying psychology because it combined auditory and visual stimuli. In his 1916 book he explored the psychological aspects of filmmaking, which laid the foundation for film theory. (predicted the future of filmmaking within psych)
Early Film Theorists - Andre Bazin, What are his key points?
Aligned with phenomenology = no split between mind and matter between the self and the world
For him, film is a photochemical record of reality
associated with the development of film criticism in France
co-founded the influential film magazine "Cahiers du Cinéma."
Bazin believed that cinema, through its ability to record reality, could capture and preserve the essence of the physical world. Argued against heavy manipulation of reality through editing, advocating for a more objective and realist representation of the world.
Einstein's Montage Theory - Defining Film as Art. Define montage.
Russian filmmaker and theorist Sergei Eisenstein
pioneering figure in the development of film theory
Soviet montage filmmaking.
super important in the Russian Film School
Informed by Hegel's dialectics to describe montage as a clash (collision) of two shots (dialectical Clash) that results in a new abstract concept.
The clash or collision of shots reflects the dialectical process of thesis (one shot), antithesis (another shot), and synthesis (the combined effect or new meaning).
collision results in emotion from audience
He proposed that the essence of cinema as an art form lies in the juxtaposition and collision of images, known as montage
Auteur Theory- Defining Film as Art, where does this originate?
Emphasized the director as the film artist,
originating in the writings of French film critics associated with the magazine Cahiers du Cinéma
a critical approach that emphasizes the role of the director as the primary creative force behind a film. (Rejecting Authorship Split)
auteur theory contends that a film director is the true "author" of a film, ("auteur" = French for "author)
Auteur theory values personal expression and sees filmmaking as an art form in which the director's creative decisions shape the final product. (directors not just interpreters of scripts)
Christian Metz — Film is more than an art. When did this get popular? Based on what?
Viewed film as a language - Semiotics of film:
developed a semiotics of film based on Ferdinand de Saussure's linguistic theory
film is not just an art form but a system of signs and symbols that convey meaning.
analyzed narrative structures in film, examining how storytelling in cinema is shaped by cultural and linguistic conventions.
a form of filmmaking or film analysis
everything on screen refers to something else
core is symbolism
became popular in French film making in the 1960’s
Feminist Film Theory - Film is more than an art
Examined film as an instrument of oppression, exposing hidden agendas of power in films.
examined cinema through the lens of gender
explored how films perpetuated or challenged societal norms and power structures
key concern was the representation of women in film and how cinema could be an instrument of oppression.
Marxist film theory
Male Gaze: films are often created from a male perspective
Postmodernism Shift in Film Studies. What do they argue? What do they say they do not need?
Film seen as a vehicle for revealing social conflicts and authority
a shift towards eclectic, revisionist views of history.
focus is on deconstructing traditional narratives and challenging established norms.
Marxism
No Need for Film Theory: Postmodernists argue that, in this era, there's no need to inquire about the nature of film or pursue film theory.
draw attention to the constructed nature of the medium, breaks the fourth wall, blurring the boundaries between reality and fiction.
Explain the Psychoanalytic/Marxist Paradigm - What was the Mid-80s Shift, who was this by?
Psychoanalytic/Marxist paradigm film theory = emerged primarily in the 1960s and 1970s.
Psychoanalytic Theory (Freud): Psychoanalytic film theory applied Freudian concepts to the analysis of films. This approach focused on exploring the unconscious motivations and desires of characters, as well as the ways in which films might reflect or influence viewers' unconscious desires and anxieties. For example, psychoanalytic film theorists might analyze characters' behavior, dreams, or symbolism in films to uncover deeper psychological meanings.
Marxist Theory: Marxist film theory, on the other hand, applied Marxist principles to the analysis of films, particularly focusing on issues of class struggle, ideology, and social power dynamics. This approach emphasized how films reflect and perpetuate dominant ideologies and social structures, as well as how they might challenge or subvert those structures. Marxist film theorists often analyzed themes such as exploitation, alienation, and resistance in films, as well as the role of the film industry within capitalist societies.
The Mid 80s Shift = led in part by theorists like David Bordwell and Noël Carroll.
They argued for a more empirically grounded approach to the study of cinema, drawing on insights from cognitive science and other disciplines. This shift marked a departure from the abstract and ideologically driven approaches of psychoanalytic/Marxist film theory toward a more focused and systematic examination of how viewers perceive and understand films.Some theorists proposed cognitive science as a more productive approach to film study. (a more Cognitive Science Approach) - Still in place
David Bordwell - Cognitive Science Approach to film +
Suggested film spectators are cued, not positioned, by films
argued existing theories mystify rather than explain the workings of motion pictures
critiqued particularly those rooted in psychoanalysis and Marxism
believed it relied on abstract concepts and lacked empirical grounding,
we are not passive recipients, the audience's cognitive expectations, and knowledge play a crucial role in interpreting and understanding a film.
exploring how filmmakers use cinematic techniques to guide audience perception and understanding.
Noell Carroll - Cognitive Science Approach to film
Critiqued existing film theories for their lack of clarity in explaining the workings of motion pictures
many theories were vague and imprecise, hindering the development of a coherent understanding of film.
sought to bring greater rigor to film theory by clarifying concepts, defining terms precisely, in a systematic manner.
Conventionalism — E.H. Gombrich. This goes against whose notions?
Proposed conventionalism
argued against the idea that artistic representation is a direct copy of the external world. - Goes against what Andre Bazin, when he says film is a photochemical copy of reality
artistic conventions play a crucial role in the creation and interpretation of images
considered all theories equally valid, all signs as conventional (symbolism)
All expectations as solely culturally determined
argued that our expectations and interpretations of visual representations are culturally determined.
Ecological Meta-Theory: Placing Film in a Natural Context+
Views film production and spectatorship as part of natural perceptual and comprehension processes
way we perceive and comprehend films is rooted in our broader perceptual and cognitive mechanisms
Motion Pictures regarded as a subset of our perceptual systems and the mind of The Spectator
The moving images on the screen are processed by the viewer's perceptual apparatus in ways that are consistent with how we perceive motion and visual information in the natural environment.
The ecological perspective, influenced by the work of psychologist James J. Gibson, emphasizes the relationship between an organism and its environment
What are the Hollywood Style Rules needed to Craft Universally Accessible Films (6)
Style: the particular elements of Motion Pictures crafted. Style developed in the direction of accessibility.
Classical Hollywood Style: Developed in the 20th century, aimed at making films accessible to a wide audience (whether it is possible to comprehend the events that occur on the screen and to follow the basic storyline)
Rules of Thumb for Accessibility: Make things look more realistic
Every shot should advance the storyline.
Actors should avoid broad gestures and never look directly into the lens.
Change of camera angle and image size from one shot to the next.
Adherence to the 180° rule (keeping the camera on one side of the action).
Fictional world should not be intruded upon by workers and equipment.
Storytelling through action rather than words.
Emergence and Evolution of Human Visual System: Define Veridicality and Illusions
Origins of the human visual system emerge after the visual systems in mammals were already well defined
Veridicality in Evolution: The human visual system evolved for accuracy, ensuring a close approximation of the world for survival
Illusions: wide awake Nonveridical perceptions that expose the rules of the perceptual system, providing insights into how the mind follows its own internal rules even though the resulting percept is an error
The 180° rule / 180° Axis Rule. What happens if this rule is not followed?
One of the 6 main Hollywood rules
One must make sure to keep the movement of the camera within one side of the action or only 180 (camera viewpoints only from one side)
Make things look more realistic because humans with two eyes can see nearly 180 degrees (Cyclopean image) in which if we did go over this, it would not be seen as natural to us when watching
switching sides completely, disorients people
Accessibility in Film. Why is it needed? What level of perception is this in?
very important in film
needed for low level perception for film (first thing you need)
low level so wont get the deep meaning/symbolism
can perceive what is generally happening (low level, broad)
Rules of Thumb for Accessibility: Make things look more realistic
Accessibility in film for low-level perception involves:
features that make films more inclusive and understandable for majority
ensuring that basic elements of the film (clear visuals, straightforward storytelling)
goal is to enable individuals to perceive the fundamental aspects of a film without relying on deep symbolism or nuanced meanings
Why is this a Hollywood Rule? “Actors should avoid broad gestures and never look directly into the lens”
broad = acting big
The difference is all about the scale and how it differs from theatre to screen actors
Theatre
have to act broadly (big and theatrical)
to make sure the person in the last row can see actions and expressions,
Movies
shown on big screen meaning everything is close up (so actions can easily look like overacting)
so screen actors must be very subtle
almost “underacting” “do less” “bring it down” “do almost nothing”
The Diegetic World
means the fictional movie world
important to not break the 4th wall as this breaks diegesis (ex: Deadpool breaks 4th wall alot)
Pertains to the Hollywood rules:
Actors should avoid broad gestures and never look directly into the lens.
Fictional world should not be intruded upon by workers and equipment.
Prosody in Film making (Actors vs Directors) What does prosody analysis do? Prosody is closely related to what?
directors cant tell actors the prosody they are looking for (but directors dont direct prosody)
helps actors convey the emotional nuances of a scene
Prosody = The way a line is spoken
Prosody analysis can tell you who is speaking
closely related to auditory