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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]
André Bazin (French:; 18 April 1918 – 11 November 1958) was a renowned and influential French film critic and film theorist.He started to write about movies in 1943 and was a co-founder of the renowned film magazine Cahiers du cinéma in 1951 alongside Jacques Doniol-Valcroze and Joseph-Marie Lo Duca.
Surrealist cinema is a modernist approach to film theory, criticism, and production, with origins in Paris in the 1920s. The Surrealist movement used shocking, irrational, or absurd imagery and Freudian dream symbolism to challenge the traditional function of art to represent reality.
In 1960, he released Theory of Film: The Redemption of Physical Reality, which argued that realism is the most important function of cinema. In the last years of his life Kracauer worked as a sociologist for different institutes, amongst them in New York as a director of research for applied social sciences at Columbia University. He died there ...
Literature through Film: Realism, Magic, and the Art of Adaptation (Blackwell, 2005) offered a historicized account of key trends in the history of the novel – the proto-magic realism of a Cervantes, the colonialist realism of a Defoe (and his critics), the parodic reflexivity of a Henry Fielding or Machado de Assis, or proto-cinematic ...
The philosophy of film is a branch of aesthetics within the discipline of philosophy that seeks to understand the most basic questions about film. Philosophy of film has significant overlap with film theory , a branch of film studies .
Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs. [1]
The fact that the subject is created and subjected at the same time by the narrative on screen is masked by the apparent realism of the communicated content. This is also explained by Screen's conceptualization of the post-structuralist theory, which regards a text as an act of intervention in the present so that the film is considered a work ...