The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory Murray Pomerance

2009 ◽  
Vol 18 (1) ◽  
pp. 114-117
Author(s):  
Aaron Taylor
Keyword(s):  
Film Experience

‘Dracarys’ for all: TV series and experiential learning

2021 ◽  
pp. 135050762110533
Author(s):  
Brigitte Biehl
Keyword(s):  
Experiential Learning ◽  
Learning Outcomes ◽  
Film Studies ◽  
Analysis Tool ◽  
Critical Potential ◽  
Management Learning ◽  
Art Form ◽  
Film Experience ◽  
Specific Learning ◽  
Point Of Reference

Film has been widely used for management learning, mostly with a focus on the story rather than on the film experience. This study draws on arts-based learning literature, film studies and data from learning interactions, and develops a taxonomy of experiential learning with film as a specific art form and emotional medium. The taxonomy includes three elements: making a film experience, processing the experience and cultural aesthetic reflexivity. This study provides process steps and teaching strategies to help move management learners along in the process towards specific learning outcomes. It introduces a film analysis tool as a method that can be used to overcome aesthetic muteness when reflecting on the film experience. The acclaimed and contested TV series Game of Thrones serves as a point of reference, and examples feature the female leader Daenerys Targaryen. The approach is transferable across films and TV series to integrate knowing, experience and emotions and to use popular culture’s critical potential for management learning.

A Moderately Pessimistic Perspective on “Cooperative Naturalism”

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 9-18 ◽  
Author(s):  
David Davies
Keyword(s):  
Mirror Neurons ◽  
Film Studies ◽  
Epistemic Value ◽  
Philosophical Reflection ◽  
The Arts ◽  
Normative Dimension ◽  
Film Experience ◽  
Philosophical Questions

Murray Smith’s plea for a “cooperative naturalism” that adopts a “triangulational” approach to issues in film studies is both timely and well-defended. I raise three concerns, however: one is external, relating to this strategy’s limitations, and two are internal, relating to Smith’s application of the strategy. While triangulation seems appropriate when we ask about the nature of film experience, other philosophical questions about film have an ineliminable normative dimension that triangulation cannot address. Empirically informed philosophical reflection upon the arts must be “moderately pessimistic” in recognizing this fact. The internal concerns relate to Smith’s claims about the value and neurological basis of cinematic empathy. First, while empathy plays a central role in film experience, I argue that its neurological underpinnings fail to support the epistemic value he ascribes to it. Second, I question Smith’s reliance, in triangulating, upon the work of the Parma school on “mirror neurons.”

scholarly journals Film education and age(ing): A case study of a university course on FilmBildung

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Lena Eckert ◽  
Silke Martin
Keyword(s):  
Elderly People ◽  
Life Writing ◽  
Constructivist Teaching ◽  
Retirement Home ◽  
Participatory Action ◽  
Teaching And Research ◽  
Film Education ◽  
Education Workshop ◽  
University Course ◽  
Film Experience

This paper elaborates on a practical film education project conducted in universities, schools and retirement homes, which we have been working on for several years. We describe the approach to teaching and research that we have been following, as well as the basis of our vision for a project on collage, life writing and film education with elderly people. Based on several MA modules on film education that we have taught at various universities during the past few years, as well as on a number of seminars on ageing studies (BA and MA) and on our experience as trained writing coaches, we draw together different strands of our experiences in order to sketch a film education workshop that instructs students to, in turn, instruct elderly people in a retirement home to work on their film experience by means of collage and life writing. The background in teaching and research upon which we draw is based on participatory action research, a constructivist teaching philosophy, a heterarchic organization of university modules and an intersectional understanding of age(ing).

Fall

2021 ◽  
Author(s):  
Adriano D’Aloia
Keyword(s):  
Human Body ◽  
Homeostatic Process ◽  
Found Footage ◽  
Starting Point ◽  
Contemporary Cinema ◽  
The Mind ◽  
Film Experience

A common outcome of acrobatics, and a motif often combined with it, is the fall. The chapter ‘Fall. Descent to equilibrium’ discusses the recurrence of the motif of the falling human body in contemporary cinema, taking as a starting point Oliver Pietsch’s found footage film Maybe Not. Relying on Torben Grodal’s application of the notions of telic and paratelic to the film experience, referring to the use of cinema as metaphor for the mind proposed by Antonio Damasio, and interpreting several experiments on the perception of movement in film sequences whose temporality is manipulated, this chapter describes the modality through which cinema ‘regulates’ the fall by adopting a homeostatic process that reduces its traumatic character and, at the same time, enhances its expressive effectiveness.

The Hundred-Year-Old Question: Can American Cinema Be Saved?

2018 ◽  
Vol 71 (3) ◽  
pp. 37-47
Author(s):  
James Schamus
Keyword(s):  
American Film ◽  
Film Festival ◽  
American Cinema ◽  
Feature Films ◽  
Theatrical Film ◽  
Streaming Services ◽  
The Aesthetic ◽  
Ticket Prices ◽  
Film Experience ◽  
Viewing Experience

The Art House Convergence conference annually brings together hundreds of independent theater owners and supporters of arthouse cinema during the days preceding the Sundance Film Festival. When the organizers invited James Schamus to deliver the keynote address at their 2016 gathering, it was a commission he did not relish. The expected argument of such speeches is pretty much set in stone these days: cinema, understood primarily as feature films meant initially for theatrical exhibition, is under attack, and the keynote speaker's task is to rally the troops in its defense, soliciting applause for recent victories on the battlefield, and railing against the encroachments of the enemies of film, in particular the digital streaming services whose assaults on the sanctity of the theatrical viewing experience, and thus on the aesthetic object known as the theatrical film, grow ever more ferocious with each passing year. Schamus took on the task of delivering that speech, and then transforming it into this article for FQ. He concludes with a rousing plea to all regarding what he terms, “This vicious spiral of longer movies, higher costs and higher ticket prices,” that can only spell disaster for the supporter of truly independent American cinema. Schamus urges readers to stand with him (and all who love the genuine American film experience), to advocate for vibrant, varied, open-ended, hybrid, serial and ongoing open storytelling and entertainment.

scholarly journals Digital Editing and Montage: The Vanishing Celluloid and Beyond

2004 ◽  
Vol 13 (1-2) ◽  
pp. 69-107 ◽  
Author(s):  
Martin Lefebvre ◽  
Marc Furstenau
Keyword(s):  
New Technology ◽  
Film Editing ◽  
Digital Film ◽  
Film Style ◽  
Traditional Approaches ◽  
Film Experience ◽  
The Impact

Abstract In this essay we consider some of the effects of digital film editing technology on editing. Through an analysis of this technology, as well as DVD technology, we examine the impact these new interfaces have on the film experience. In addition, a study of the effects of compositing—understood here as digital montage par excellence—permits us to dig deeper into its impact on traditional approaches to film style, as well as to question the anxiety stemming from the new technology, given that many critics today argue that digitization has obliterated film’s indexicality.

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