The Film Aesthetics of Jacques Aumont

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

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"Social horror": A critical analysis of ideological and poetic function of the motive of victim in the contemporary Serbian film

Temida ◽

10.2298/tem1602309k ◽

2016 ◽

Vol 19 (2) ◽

pp. 309-329

Author(s):

Ivana Kronja

Keyword(s):

Critical Analysis ◽

State System ◽

Feminist Perspective ◽

Narrative Strategies ◽

Life And Death ◽

Visual Aesthetics ◽

Poetic Function ◽

Value Crisis ◽

Film Aesthetics

This paper analyses achievements of Serbian cinematography after 2000, which narrative strategies and visual aesthetics are focused on the issues of violence and victims in the context of social despair, post-communist transition and ongoing global value crisis. Films made by Mladen Djordjevic Life and Death of a Porn Gang (2009), Srdjan Spasojevic A Serbian Movie (2010), and Marko Novakovic Menagerie (2012) integrate these complex characteristics of disintegration of Serbian community and dysfunctional state system into their cinematic poetics. These films present examples of radical film aesthetics, which, through strategies of making things unusual, and the influence of underground, pornography and horror on the realistic drama, speak about permanently traumatised Serbian society. They directly connect collective political state and the domain of personal, family, intimate and sexual, controversially relying on the images and narratives of gender misogyny and the violence it produces and its victims. The paper critically approaches these issues from the gender- feminist perspective.

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La estética modal como herramienta de análisis cinematográfico

AVANCA | CINEMA ◽

10.37390/ac.v0i0.12 ◽

2020 ◽

Author(s):

Jesús Ramé López

Keyword(s):

Aesthetic Experience ◽

The Other ◽

Other Hand ◽

The Aesthetic ◽

Fundamental Categories ◽

Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

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Wilde and Wilder

PMLA ◽

10.1632/s0030812900101701 ◽

2004 ◽

Vol 119 (5) ◽

pp. 1216-1230

Author(s):

Daniel Brown

Keyword(s):

Cultural History ◽

Hollywood Cinema ◽

Film Scripts ◽

And Control ◽

Narrative Conventions ◽

Sunset Boulevard ◽

Film Aesthetics

The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.

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Anthropological filmmaking: an empirical art

The looking machine ◽

10.7228/manchester/9781526134097.003.0012 ◽

2019 ◽

pp. 137-156

Author(s):

David MacDougall

Keyword(s):

Point Of View ◽

Single Author ◽

Pros And Cons ◽

Film Aesthetics

This chapter provides an overview and guide to the methodology, theory, practice, and ethics of ethnographic filmmaking. Examining in turn the various uses of film in anthropology, the differences between anthropological writing and anthropological films, and the kinds of knowledge produced by each, it proceeds to discuss the practical concerns of the anthropological filmmaker: questions of point-of-view, method, and different approaches to the construction of films. It considers the pros and cons of teamwork and single-author filmmaking, aspects of film aesthetics, relationships with the subjects of films, the filmmaker’s behaviour in the field, and different modes of camera use. Finally, it addresses the different practical strategies possible for this kind of filmmaking, including a focus on individuals as subjects, the uses of narrative, and thematic approaches. Also considered is the filmmaker’s relation to the viewer, and ways of making the filmmaker’s intentions and practice more evident within the film.

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Criminal Undertakings: Nicolas Winding Refn, European Film Aesthetics, and Hollywood Genre Cinema

Nordic Film Cultures and Cinemas of Elsewhere ◽

10.3366/edinburgh/9781474438056.003.0028 ◽

2019 ◽

pp. 370-377

Author(s):

Björn Nordfjörd

Keyword(s):

Los Angeles ◽

Art Cinema ◽

Crime Film ◽

Box Office ◽

American Films ◽

The World ◽

Gangster Film ◽

Film Aesthetics

This chapter explores Danish director Nicolas Winding Refn. Refn’s first feature Pusher (1996) was a local box-office success that helped usher in the era of the Nordic crime film, which includes his own follow-up Bleeders (1998) and two Pusher sequels (2004 and 2005). His American crime and gangster film, Drive (2011), is set in Los Angeles and is indebted to notable American classics of the genre. Reunited with Hollywood star Ryan Gosling, Refn continued to explore the international pedigree of the crime thriller in Only God Forgives (2013), where Gosling plays an American struggling to stay afloat in the Bangkok underworld. In Neon Demon (2016), Refn returns to Los Angeles, this time the world of fashion, where Hollywood gloss and European film aesthetics meet head-on. His three “American” films thus offer a striking blend of Hollywood genre and European art cinema traditions helping to explain their wildly mixed receptions.

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Film, aesthetics of

Routledge Encyclopedia of Philosophy ◽

10.4324/9780415249126-m022-2 ◽

2018 ◽

Author(s):

Gregory Currie

Keyword(s):

Photographic Method ◽

Fictional Characters ◽

Philosophical Reflection ◽

Emotional Dimension ◽

Strongly Connected ◽

Film Style ◽

Film Viewing ◽

Distinctive Role ◽

Representation Of Time ◽

Film Aesthetics

Philosophical reflection during the first one hundred years of film has been dominated by theories of the medium, and by the supposed implications of these theories for film style, and for the film’s effect on its audience. Three ideas have dominated: (1) that film is realistic because of its use of the photographic method (realism of the medium); (2) that it is realistic because it allows for the use of a style of narration which approximates the normal conditions of perception (realism of style); (3) that it is realistic because it has the capacity to engender in the viewer an illusion of the reality and presentness of fictional characters and events (realism of effect). Some theorists have argued that realism of the medium requires us to avoid realist style, others that it requires us to adopt it. Most have agreed that realist style makes for realism of effect; they disagree about whether this is a desirable goal. It is argued here that these realisms are independent of one another, and that realism of effect is no part of normal film viewing. Realism of style suggests a way of making precise the claim that cinema is an art of time and of space, because this kind of realism exploits the representation of time by time and of space by space. Psychological theorizing about the cinema has been strongly connected with realism of effect, and with the idea that an illusion of the film’s reality is created by the identification of the viewer’s position with that of the camera. Another version of illusionism has it that the experience of film-watching is significantly similar to that of dreaming. Philosophical interest in film has shifted recently from the nature of the medium to finer grained topics. Philosophers have investigated the nature of documentary cinema, the emotional dimension of film viewing, and the interpretation of particular films; they have also asked whether film might have a distinctive role in the development of philosophical ideas.

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