Some Theorists Believe Cinema Must Be Realistic And May

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

Although cinema is now a priority, some feel as if cinema is no longer the cinema when it was first established. Movies no longer have that special feeling like viewers once had. Today, films are not only shared within a theater, if one pleases they could always have the same experience elsewhere. Moreover, with technology expanding, it takes away the importance cinema once had. “The

In the digital era of convergent media, the most obvious about the change of cinema is the storage which rely on celluloid that you can touch in the past. Now, however, it is stored as electronic packets of 1s and 0s which is virtual. The changes of the cinema is not only about the film storage, but also the production，post-production, exhibition and distribution which is the main part of the film industry structure. In the era of celluloid, the four steps of movie is relatively independent and has its sequence. In digital movie, whereas, the connection and integration among four parts of industry structure are ever close.

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

Aside from basic two dimensional art, I have always been fascinated with the unique stories told through film. The way that a picture is painted through film is something that one cannot find in just any art form. Film is unique and fascinating, so I sought to find a way to unite the two worlds of film and the 2D art that I enjoy so much. My findings were that digital animation combined the artistic style that I love and the storytelling of film in a way that intrigued me beyond any other career I had researched.

“The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience 's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker, I know, is speaking clearly to the audience 'right now. '” This quote by English playwright and screenwriter, Lee Hall, from an essay he published in the Times of London, is central to the connection between theatre and motion picture technology. Since the rise of film in the early twentieth century, these elements have been influencing each other, and working together, to elevate the storytelling and experience of each medium and, in turn, better connecting them to the modern audience. The collaboration of these two mediums has resulted in a new form of theatre, known as digital theatre, that shows “theatrical entertainment does not have to be either purist (involving only ‘live’ actors on stage), or be consumed by the dominant televisual mass media, but can gain from the strengths of both types of communication.”(Masura). Throughout this paper, the intersection of theatre and motion picture technology will be explored through their effect on each other, in storytelling and experience, and the product of their collaboration—digital theatre.

“The biggest mistake we have made is to consider that films are primarily a form of entertainment. The film is the greatest medium since the invention of movable type for exchanging ideas and information, and it is no more at its best in light entertainment than literature is at its best in the light novel.” - Orson Welles

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

Gunning goes on to define the cinema of attraction as “a cinema that bases itself on the quality that Leger celebrated: its ability to show something. Contrasted to the voyeuristic aspect of narrative cinema analyzed by Christian Metz, this is an exhibitionist cinema,” (Gunning, 230). It’s a cinema before narrative where the focus lied in testing the boundaries of what was possible with the medium, much like avant-garde today. It’s a cinema where narrative was always second, if even there, to the spectacle of what was possible with the medium. Lumiere’s Demolition of a Wall displays some of the possibilities of the medium quite clearly in its later half when the reel is re-winded to create the effect of the wall rebuilding itself. As Gunning reminds us, we should never forget that “in the earliest years of exhibition the cinema itself was an attraction,” (231). Cinema was defined by the machine instead of the films in this period, and thus the simple fact of being able to see moving pictures was itself astounding. Looking at Maxim Gorky’s first accounts of viewing a motion picture in his article The Kingdom of Shadows, he writes the “extraordinary impression it (cinema) creates is so unique and complex that I doubt my ability to describe it with all its nuances,” (Gorky 7). The people of the

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

By making small but significant changes to the conventions of cinema, the artificiality of the

No matter who a person thinks invented the motion picture camera, whether it was Louis Lumiere or Thomas Edison, I'm sure they had no idea what it would become at the turn of the century. Motion pictures, has become an entertainment medium like no other. From Fred Ott's Sneeze to Psycho to Being John Malkovich, the evolution from moving pictures to a pure art form has been quite amazing. Different steps in filming techniques define eras in one of the most amazing ideas that was ever composed. Silent to Sound. Short to long. Black and white to color. Analog to Digital. All were important marks in the History of Motion Pictures. "It's different than other arts. It had to be invented"

Henry Jenkins describes convergence as ‘a situation where multiple media systems coexist and where media content flows fluidly across them’ (2006: 282). An important part of the information transferred across platforms are the techniques utilised in creation. Digital technologies have no doubt had a large impact on moving images and how they are developed and produced in the modern world. There has been the introduction of inexpensive consumer digital recording devices, and the ability to create a video with mobile phones rather than needing a separate dedicated device. This has led to growth in the creation of amateur moving images on platforms such as YouTube in a variety of forms. As well as inspiring the creation of new areas of production, digital advances have enabled further evolution in more traditional areas. Early cinematic pioneers dabbled with in-camera trickery in order to create fantastical scenes and amaze viewers, and this principle carries forward to today. Matt Reeve’s Dawn of the Planet of the Apes (2014) is a good example of the intriguing applications of digital technology in order to achieve these old goals in a potentially better way. As with the introduction of any new way to achieve a goal, the opportunities available to content creators have multiplied with the growth in the variety of digital techniques. The power particular innovations in technology can have in their contribution is perhaps underlined by the impact they have had in less revered

Film Industry has been expansively affected by the changes in technology. The mechanical and digital innovations give cause to the influence of equipment, distribution and the way in which films are made and consumed. New trends shape directors and filmmakers to expand creatively towards telling stories in motions. The film industry has developed to one of the most important tools of communication, it's cause so powerful affecting the way individuals and societies think, act and behave. Among the new Era approaching film, and seeing celluloid film fade is that of the Digital Era and a camera that saw celluloid films passing hastened.