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The semiological theory of syntagm and paradigm (originally formulated by Ferdinand de Saussure and later worked on by Roland Barthes) helps to define the relationship between the database-narrative opposition. In this theory the syntagm is a linear stringing together of elements while at the paradigmatic each new element is chosen from a set ...
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 American independent film, beginning in the 1910s but prior to the 1980s and first half of the 1990s, [19] [20] [11] was previously associated with race films, [21] Poverty Row b movies (e.g. Republic Pictures [22] [23]), exploitation films, avant-garde underground cinema (when it was known as the New American Cinema [24] [25]), social and political documentaries, experimental animated ...
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s.
Filmmakers Stéphane Brizé (second from the right) and Rodrigo Moreno (second from the left) at a screening of The Measure of a Man in Buenos Aires in 2019. An independent film, independent movie, indie film, or indie movie is a feature film or short film that is produced outside the major film studio system in addition to being produced and distributed by independent entertainment companies ...
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]
Creators and/or film distributors or publishers who seek to distance themselves from the negative connotations of horror often categorize their work as a psychological thriller. [9] The same situation can occur when critics label a work to be a psychological thriller in order to elevate its perceived literary value. [8]
In film theory, the institutional mode of representation (IMR) is the dominant mode of film construction, which developed in the years after the turn of the century, becoming the norm by about 1914. Although virtually all films produced today are made within the IMR, it is not the only possible mode of representation.