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"Medium-specificity is based on the distinct materiality of artistic media." As early as 1776 Gotthold Ephraim Lessing "contends that an artwork, in order to be successful, needs to adhere to the specific stylistic properties of its own medium." [4] Today, the term is used both to describe artistic practices and as a way to analyze artwork.
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]
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 ...
Nolan argued for the artistic merits of film on the grounds of "medium specificity", which highlights the importance that a work shot on film be presented in its original format, and "medium resistance", that the artist's choice of what medium is used to create a work will further effect choices in how a work is made. [162]
The film is very impressionistic and very expressionistic, and it's kind of more interested in the sort of oneiric aspects of life, the more daydreaming, visual use of the camera as it relates to ...
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]
Only Motion Pictures in Education could readily be seen as an attempt to push educational cinema down the institutional path of medium specificity and regulated meaning production, in that Ellis and Thornborough set out to codify best practices for the production and teaching of the classroom film as an autonomous and pedagogically legitimate ...
Unfilmability is a type of medium specificity which prevents a work of literature from undergoing successful film or television adaptation. A wide variety of considerations can lead to a work being seen as unfilmable.