How The Film As Seen Through A Telescope

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

A prominent visual motif Hitchcock utilised within the film was the characters eyes. The themes of voyeurism and surveillance were underlined throughout

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

It would be true to say that our window is the physical screen and the film is the “window on the world”, as Elsaesser puts it (13). Yet we perceive the screen as a portal that brings us into the world of the film.  Given the nature of human perception, the two-dimensional screen becomes a three-dimensional world for viewers in a movie theatre.  This construct is what makes the cinema of the window so powerful with regard concept of the screen as the window and the audience as the people looking through it.  The metaphor has a cumulative richness of meaning that far exceeds the two simple, standalone principles that bring it to life.  The window the cinema provides us is one that can transport people to realm that would not exist or that they would not have access to. While lost within the film, an audience is able to experience a wide range of emotions and connections that result from this entertaining departure, and these emotions often bear no correlation to their emotional reality in everyday life outside the theatre. This same concept applies to Jefferies in Rear Window. His perception is arrested by outside actions that he can observe, but not get involved in.  The courtyard offers mental and emotional escape as he copes with a difficult period in his recovery. Jeffries fascinates himself with events other than what is actually going on in his life, as these events become a vital escape from his immediate physical

Window, by Alfred Hitchcock. This male gaze idea is present in most forms of media that

Another technique Lee uses throughout the film is treating cinema as a visual experience through the eye and also through the gaze. He sets up the film in such a way the objects seen in the movie were really present, while these objects are also used for symbolic construction, building a relationship between the spectator and the screen (Elsaesser 100). Lee also uses the strategies of alienation and identification throughout the entire film which further helps engage the audience’s emotions and makes them think throughout the film about what is the right

8). The main point(s) of view presented in the film are that visual media should change as what we see as “normal” in our

Andrea Arnold uses the technique of viewing cinema as a window in order to provide a better experience and outlook for the audience. Using cinema as a window provides the viewers a special ocular access to whatever is going on throughout the film. This is usually a rectangular view which helps the

In the play “The Glass Menagerie” of Tennessee William, he wrote a drama play to emphasize readers about the life is at a standstill the Wingfield family. Through of the Wingfield family, he uses many symbols which represent many things, but the important main symbolization is fire escape that shows three main characters; Tom Wingfield, his fire escape is the way out of Amanda and Laura. Amanda Wingfield, hope gentlemen callers to enter their lives, and Laura Wingfield, who wants in her own world by collecting unicorn animals. They express successfully in the play by using the fire escape portrays each of characters as literal exist from their own reality.

Cinema after 1906, according to Gunning, pushed towards the structure of linear narrative, and away from the immediacy of the "spectacular image" (Strauven, 1999: 387).

As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very

The following essay examines the characteristics of the aestheticisation of abjection by analysing Jonathan Demme’s, The Silence of The Lambs (1991) to better understand what pleasure we, as a culture, find in consuming horror films. The Silence of the Lambs shows women being tortured, sexually assaulted and murdered yet is still a widely popular film that serves to entertain a seemingly sane society.

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.

Alfred Hitchcock’s 1954 film, Rear Window, explores many dimensions in cinematography. The phenomenal film is well known for proclaiming its voyeurism issues that goes on in today’s society. Even though voyeurism is an act that should not be done, this film portrays it in an affirmative way. Rear Window introduces primary structural components in the first act which sets the mood for the audience to interact with J.B. Jefferies in a way as it is the audiences duty to help him solve the mystery on whether Thorwald murdered his wife or not.