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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]
Pages in category "Books of film theory" The following 10 pages are in this category, out of 10 total. This list may not reflect recent changes. C.
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]
An often overlooked aspect of film adaptation is the inclusion of sound and music. In a literary text, a specific sound effect can often be implied or specified by an event, but in the process of adaptation, filmmakers must determine specific the sound characteristics that subliminally affects narrative interpretation.
The cinema covered in the book ranges from the silent era to the late 1970s, and includes the work of D. W. Griffith, G. W. Pabst, Abel Gance, and Sergei Eisenstein from the early days of film; mid-20th century filmmakers such as Akira Kurosawa, John Ford, Carl Theodor Dreyer, and Alfred Hitchcock; and contemporary – for Deleuze – directors ...
The book is published by Focal Press, a media and technology publishing company. [4] Focal Press is an imprint of the academic press Taylor & Francis. [5] [6] The book was first published in 1999 under the title Producing Great Sound for Digital Video by Miller Freeman Books and was 375 pages.
In narrative films, plots are guided by camera placement and movement, dialogue, sound effects, and editing. Some aspects of film are driven by bottom-up or sensory guided factors (such as light, motion or sound), whereas other aspects depend more on top-down or conceptually driven factors, like past experiences and internal motivations. [5]
Son et image au cinéma, originally published in France in 1990, [1] [2] has been considered by all critics as the definitive book on the relations between sound and image, which are described as two different languages within the multimedia art form, discussing the argument from both technical-linguistic and aesthetic points of view, where ...