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The story was twice adapted by Hollywood, first in 1990 as a short film, and again in 1993 as a television movie. Lupoff appeared in both films as an extra. [1] The major plot device is a time loop or time bounce, and bears great similarity to that of 1993's Groundhog Day. Lupoff and Jonathan Heap, director of the 1990 film, were "outraged" by ...
A frame story (also known as a frame tale, frame narrative, sandwich narrative, or intercalation) is a literary technique that serves as a companion piece to a story within a story, where an introductory or main narrative sets the stage either for a more emphasized second narrative or for a set of shorter stories. The frame story leads readers ...
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]
The result was to make the films look familiar, and indeed in Kristin Thompson's words "readers ... often claimed that the film had captured their own mental images of Middle-earth". [23] [24] Jackson, with a background in horror films, and the need to attract a large audience, necessarily cut the story down to fit the viewing time of three films.
Articles relating to frame stories, a literary technique that serves as a companion piece to a story within a story, where an introductory or main narrative sets the stage either for a more emphasized second narrative or for a set of shorter stories. The frame story leads readers from a first story into one or more other stories within it.
Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect.
Studying the neuroscience of film is based on the hypothesis that some films, or film segments, lead viewers through a similar sequence of perceptual, emotional and cognitive states. Using fMRI brain imaging, researchers asked participants to watch 30 minutes of The Good, the Bad and the Ugly (1966) as they lay on their backs in the MRI scanner ...