Measuring Engaging Dialogue

2018 ◽  
pp. 11-24
Author(s):  
Jennifer O'Meara
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Film Theory ◽  
Methodological Framework ◽  
Audience Studies ◽  
Independent Cinema

Sarah Kozloff (2000) argues that generic speech conventions were established early in the sound era. This book considers how, and gauges why, American independent filmmakers manipulate such internalised conventions. This chapter provides an overview of the methodological framework for doing so, including the rationale for studying the significance of dialogue to low-budget cinema more generally. Addressing the long-standing bias against film dialogue, the chapter outlines the precarious status that dialogue holds in film studies, and the film industry, since the introduction of sound or ‘talking pictures’. The chapter connects niche film audiences with niche forms of dialogue, such as those in indie and art cinemas. Drawing on audience studies and cognitive film theory, it also considers the appeal of alternative dialogue styles in American independent cinema.

A Dictionary of Film Studies

2020 ◽  
Author(s):  
Annette Kuhn ◽  
Guy Westwell
Keyword(s):  
Computer Games ◽  
Film Studies ◽  
Film Industry ◽  
Film Theory ◽  
Film History ◽  
Undergraduate Level ◽  
Theory And Criticism ◽  
Technical Terms ◽  
Transnational Cinemas

Over 550 entries This dictionary covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally.

Accessible Filmmaking and Media Accessibility

2020 ◽  
pp. 323-353
Author(s):  
Pablo Romero-Fresco
Keyword(s):  
Production Process ◽  
Film Studies ◽  
Film Industry ◽  
Theoretical Framework ◽  
Potential Solution ◽  
Creative Team

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. As a potential solution to this problem, accessible filmmaking (AFM) aims to integrate translation and accessibility into the production process through the collaboration between the creative team and the translator. This chapter outlines, firstly, the theoretical framework that underlies AFM, drawing on both translation/media accessibility and film studies and incorporating the notion of the global film. It then reviews the application of AFM in the filmmaking industry through the collaboration between accessible filmmakers and directors of translation and access. Finally, it introduces a new engagement-based approach to media accessibility that has resulted from AFM and compares it to the comprehension-based approach that has traditionally been used in this area.

Deleuze and Lola Montès

2020 ◽  
Author(s):  
Richard Rushton
Keyword(s):  
Gilles Deleuze ◽  
Film Studies ◽  
Film Theory ◽  
World Today ◽  
Film Interpretation ◽  
The World ◽  
Time Image

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Jordan Schonig
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Film Theory ◽  
Gestalt Psychology ◽  
Film Criticism ◽  
Philosophical Intuition ◽  
History Of ◽  
Generic Structures ◽  
Temporal Flow ◽  
Film Form

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

Serge Daney, Zapper: Cinema, Television, and the Persistence of Media

October ◽  
2016 ◽  
Vol 157 ◽  
pp. 107-127
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Film Studies ◽  
Film Theory ◽  
New Wave ◽  
Digital Revolution ◽  
The Status ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Small Screen

The essay considers Serge Daney's transition from a film critic schooled in New Wave cinephilia to a television critic fascinated by the possibilities of the small screen and the status of cinema as an old medium. Looking in the “rear-view mirror,” Daney challenges foundational film theory that situates cinema at the forefront of technological and cultural modernity, and he introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s, Daney began to chronicle the experience of watching cinema on television, with old and new media spiraling into each other and the critic engaged in a process of archaeology focused as much on absent or damaged images as the imaginary plenitude of the screen. Tweedie's essay frames the critic's work as a key reference point for film studies in the late twentieth century because it counters both the modernist euphoria of theory produced decades before and the enthusiasm surrounding the digital revolution in the years just after his death, with new media in the vanguard once occupied by cinema. Instead of recomposing this familiar narrative of innovation, succession, and obsolescence, Daney constructs a retrospective and intermedial theory of film, with the act of watching cinema on television revealing both the diminution and the persistence of its most utopian ambitions.

scholarly journals Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina

2017 ◽  
Vol 20 ◽  
pp. 121-132
Author(s):  
Magdalena Saryusz-Wolska
Keyword(s):  
Popular Culture ◽  
Social Economic ◽  
Film Studies ◽  
Research Tool ◽  
Cultural Participation ◽  
Audience Studies ◽  
Cultural Activities ◽  
New Cinema ◽  
Post War ◽  
Historical Practices

Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.

Ontological, Formal, and Critical Theories of Film Music and Sound

2013 ◽  
pp. 187-226 ◽  
Author(s):  
James Buhler
Keyword(s):  
Film Studies ◽  
Film Theory ◽  
Film Music ◽  
Developmental Model ◽  
Interpretive Research ◽  
Critical Theories

This chapterexamines film music and sound theories. It charts some major trends in interpretive research on the soundtrack, using Francesco Casetti’s model of the development of film theory. It explains that Casetti’s developmental model of film theory traces the progressive academic institutionalization of film studies in shifts from an ontological paradigm to a methodological paradigm to a field paradigm, and suggests that the goals of ontological theories have antecedents in formalism. This chapteralso highlights critical theories’ focus on how music and sound can bear particular cultural and ideological values in a film.

Film, Cinema, Genre

2021 ◽  
Author(s):  
Steve Neale
Keyword(s):  
Science Fiction ◽  
Media Studies ◽  
Film Studies ◽  
Film Industry ◽  
Film Noir ◽  
Art Cinema ◽  
Undergraduate Level ◽  
New Hollywood ◽  
University Courses ◽  
The Subject

This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.

Fashioning Socialist Visual Culture

2016 ◽  
Author(s):  
Wang Zheng
Keyword(s):  
Visual Culture ◽  
Cultural History ◽  
Cultural Production ◽  
Film Studies ◽  
Film Industry ◽  
Socialist Revolution ◽  
Left Wing ◽  
Patriarchal Culture ◽  
History Of ◽  
Xia Yan

Xia Yan, the underground leader of the left-wing films in the 1930s and top official of the film industry in the PRC since 1954, embodied the cultural history of the CCP. A brief biography of this Communist feminist artist leader disrupts the reductive dichotomy of the Party vs. artists in film studies and illuminates a tension-ridden history of socialist filmmaking that constituted a highly contentious site in the socialist revolution. Situating his politically engagingartistic creativity inside ashiftingpolitical process, this chapter traces Xia Yan’s major role in transmitting the New Culture agenda of transforming a patriarchal culture in socialist cultural production and delineatesdiverse and contradictory politicalpositions and artistic preferences in artists’ innovative experimentsofcreating a socialist new culture. It also analyzes his films that continued the paradigm of revolutionary heroines.

M-Learning Apps for Film Studies

2019 ◽  
pp. 265-291
Author(s):  
Jeanny Vaidya
Keyword(s):  
Film Studies ◽  
Learning Experience ◽  
Academic Discipline ◽  
Film Theory ◽  
Film Noir ◽  
Learning Support ◽  
Film Interpretation ◽  
Delivery Options ◽  
Basic Approaches ◽  
Evaluation Techniques

While there are many educational apps for traditionally taught subjects such as mathematics and science, more specialized curriculum has largely been left unexplored in terms of m-learning. Film studies, an academic discipline that deals with the theoretical, historical, and critical underpinnings of film, is one such subject that has very few mobile applications. This chapter explores creating a mobile application to teach basic approaches to film interpretation and in addition, considers a heutagogical approach in design. Benefits of m-learning include increased delivery options for multimedia, context-based learning support, and the prospects of a more fulfilling learning experience. This chapter provides direction for implementation and evaluation techniques for an introductory film studies module on film noir, which can be integrated into a mobile format to make film theory more relevant and accessible.

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