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Insisting that film originally drew its form in nineteenth-century painting, postcards, waxworks, comic strips, and its subject matter from popular songs, pulp magazines, and dime novels, Panofsky argues that the film medium originally “appealed directly and very intensely to a folk art mentality” by satiating its appetite for “justice ...
Medium theory is a mode of analysis that examines the ways in which particular communication media and modalities impact the specific content (messages) they are meant to convey. It Medium theory refers to a set of approaches that can be used to convey the difference in meanings of messages depending on the channel through which they are ...
His argument, within 'Theorising the Moving Image,' holds that medium essentialism is an inaccurate way to evaluate a work - as it requires the distillation of a film to one medium, when a film is constituted by not one, but several mediums. These mediums may include editing, lighting, narrative, photography, colour, and artistic intention. [31]
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]
Film style and film genre should not be confused; they are different aspects of the medium. Style is the way a movie is filmed, as in the techniques that are used in the production process. Genre is the category a film is placed in regarding the narrative elements. [ 7 ]
By contrast, in the United States, movie is the predominant term for the medium. Although the words film and movie are sometimes used interchangeably, film is more often used when considering a work's artistic, theoretical, or technical aspects. The term movie more often refers to a work's entertainment or commercial aspects.
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]
American philosopher Noël Carroll has argued that the earlier characterizations of film made by philosophers too narrowly defined the nature of film and that they incorrectly conflated aspects of genres of films with film in general. Aspects of Bazin's realist theories have been accepted by philosophers in spite of Carroll's critique.