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Cinema 2: The Time-Image (French: Cinéma 2, L'image-temps) (1985) is the second volume of Gilles Deleuze's work on cinema, the first being Cinema 1: The Movement-Image (French: Cinéma 1. L'image-mouvement) (1983). Cinema 1 and Cinema 2 have become to be known as the Cinema books, and are complementary and interdependent texts.
Film stock made of nitrate, acetate, or polyester bases is the traditional medium for capturing the numerous frames of a motion picture, widely used until the emergence of digital film in the late 20th century. film theory film transition film treatment filmmaking. Sometimes used interchangeably with film production.
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.
A scleroscope is a device used to measure rebound hardness. It consists of a steel ball dropped from a fixed height. The device was invented in 1907. As an improvement on this rough method, the Leeb Rebound Hardness Test, invented in the 1970s, uses the ratio of impact and rebound velocities (as measured by a magnetic inducer) to determine hardness
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]
The film shows a loft for 45 minutes from a fixed perspective, progressively zooming across the room with variations in the image coming from color gels, different film stocks, superimpositions, and negative images. It won the International Experimental Film Festival and was soon recognized as the movement's most significant work.
A "Mexican standoff" is a common film trope. In cinema, a trope is what The Art Direction Handbook for Film defines as "a universally identified image imbued with several layers of contextual meaning creating a new visual metaphor". [1] A common thematic trope is the rise and fall of a mobster in a classic gangster film. The film genre also ...
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]