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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.
Häxan (1922), a horror essay film about the historical roots and superstitions surrounding witchcraft. A film essay (also essay film or cinematic essay) consists of the evolution of a theme or an idea rather than a plot per se, or the film literally being a cinematic accompaniment to a narrator reading an essay. [9]
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 meaning of a film, plus the way the viewing subject is constructed and the mechanics of the actual process and production of making the film affect the representation of the subject. This effect is ideological because it is a reproduced reality and the cinematic experience affects the viewer on a deep level.
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 ...
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.
In an interview for Rolling Stone magazine, Kubrick said "On the deepest psychological level the film's plot symbolizes the search for God, and it finally postulates what is little less than a scientific definition of God . . . The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about ...
A critical lens is a way of looking at a particular work of literature by focusing on style choices, plot devices, and character interactions and how they show a certain theme (the lens in question). It is a common literary analysis technique. [1]