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Screen theory is a Marxist–psychoanalytic film theory associated with the British journal Screen in the early 1970s. [1] It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity. [2]
The most familiar type of affective shot is of the face. The close-up. Some films, such as Dreyer's The Passion of Joan of Arc (1928) are composed from a series of close-ups, and in this way create an affection-image film. The affection-image film is therefore a film which foregrounds emotions: desires, wants, needs.
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
A film, also known as a movie or motion picture, [a] is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally, since the 1930s, synchronized with sound and (less commonly) other sensory stimulations. [1]
The term was coined by P. Adams Sitney who noted that film artists had moved away from the complex and condensed forms of cinema practiced by such artists as Sidney Peterson and Stan Brakhage. "Structural film" artists pursued instead a more simplified, sometimes even predetermined art. The shape of the film was crucial, the content peripheral.
An art film, art cinema, or arthouse film is typically an independent film, aimed at a niche market rather than a mass market audience. [1] It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", [ 2 ] "made primarily for aesthetic reasons rather than commercial profit", [ 3 ] and containing ...
Images captured with photographic emulsion result in a series of invisible latent images on the film stock, which are chemically "developed" into a visible image. The images on the film stock are projected for viewing in the same motion picture. Cinematography finds uses in many fields of science and business, as well as for entertainment ...
In his writings, Vertov chastised contemporary cinematography as being too concerned with elements outside of the film shot itself, such as music or literature. [17] Contrary to traditional film-making techniques, Kino-Eye, through Kinochestvo, was interested in the "non-theatrical" film, that is, in films without script or composite characters ...