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Characterization or characterisation is the representation of characters (persons, creatures, or other beings) in narrative and dramatic works. The term character development is sometimes used as a synonym .
In fiction, a character is a person or other being in a narrative (such as a novel, play, radio or television series, music, film, or video game). [1] [2] [3] The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made. [2]
Film analysis is the process by which a film is analyzed in terms of mise-en-scène, cinematography, sound, and editing. One way of analyzing films is by shot-by-shot analysis, though that is typically used only for small clips or scenes. Film analysis is closely connected to film theory. Authors suggest various approaches to film analysis.
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 semiotics is the study of sign process , or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Film semiotics is used for the interpretation of many art forms, often including abstract art .
The horizon of events in movie fiction” in John Gibbs and Douglas Pye (eds.) Style and meaning: studies in the detailed analysis of film, Manchester U.P., 2005. For an in-depth examination of Perkins' career, see: Jeffrey Crouse, "Fueled by Enthusiasms: Jeffrey Crouse Interviews V. F. Perkins," Film International , 2004:3, pp. 14–27.
Marlon Brando's performance in Elia Kazan's film of A Streetcar Named Desire exemplifies the power of Stanislavski-based acting in cinema. [1]Method acting, known as the Method, is a range of rehearsal techniques, as formulated by a number of different theatre practitioners, that seeks to encourage sincere and expressive performances through identifying with, understanding, and experiencing a ...
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]