Essay on Technologies of Seduction

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

I’m writing to you to discuss your essay “The Erotic, the Exotic, and the Space Inbetween: The Race for Feminist Waves.” I thought that your essay was not only an interesting application of Audra Lorde’s notion of “The Erotic as Power,” but also the exploitation of the erotic in traditional wave models of feminist movements.

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. .

dramatic and forceful is the fact that it is a spiritual presence, one which we

In Hayao Miyazaki’s breathtaking film, Spirited Away we are introduced to 10-year-old Chihiro and her parents who stumble upon a seemingly abandoned amusement park. After her mother and father turn into giant pigs, Chihiro meets the mysterious Haku, who explains the park is a resort for the supernatural beings who need a break from the earthly realm, and that she must work there to free herself and her parents. Our young protagonist is shown to be a childish, easily-scared, and whiny girl. But after her experiences at the bathhouse and the Spirit World, she will mature into a capable adult. Chihiro’s growth into a capable individual is a core factor to the movement of Spirited Away’s plot.

In the article the researchers were trying to challenge the sexual strategies theory. It seems as though sexual strategies theory is different genders having different preferences when choosing a mate, in the case of long and short term relationships. The hypothesis at first was that both boys and girls felt that attractiveness was important. Girls would be more inclined to date someone because of social status and that boys would be the complete opposite. They also expected that social status would only become important when the person is attractive and social status would be important no matter if the person is attractive on no for girls. The last thing that was tested was according to Ha (2009) “the potential moderator effects of

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).

Physical actions and postures depict fear as posture related to others indicates her powerlessness. Position of fear emanates inwardly in Emma from her feeling of fear. “She looked all about her, anxiously watching every form that passed in the horizon, and every village window from which she could be seen. [...] She stopped short, white, and trembling more than the aspen leaves swaying overhead” (215). “She could bear it no longer; she ran into the sitting room as if to take the apricots there, overturned the basket, tore away the leaves, found the letter, opened it, and, as if some fearful fire were behind her, Emma flew to her room terrified” (265).

The spectacle cannot be understood either as a deliberate distortion of the visual world or as a product of the technology of the mass dissemination of images. It is far better viewed as a weltanschauung that has been actualized, translated into the material realm ­­ a world view transformed into an objective force.

They ask “what is the relationship between the cinema, perception and the body?” (p.4). Often as is the case with an episodic

The notion that film functions rhetorically is hardly novel, and, indeed, there is a long tradition of film criticism within rhetorical studies.5 Historically, the rhetorical criticism of film has tended to focus on the representational aspects of cinema, attending to how films compel audiences at a cognitive rather than corporeal level. But more recently, scholars in an array of fields (Kennedy, 2000; MacDougall, 2006; Massumi, 2002; Shaviro, 1993; Sobchack, 1995, 2004) have begun to consider how cinema appeals directly to the senses, how it sways viewers somatically as well as symbolically. Attention to the body corresponds closely to the affective (re)turn in rhetorical studies,6 for conceptualizing rhetoric as embodied necessarily “reflects a merger of reason and emotion” (McKerrow, 1998, p. 322; see also Johnson, 2007). Rhetorical

Intro: The discourse of film is a questionable field of study in its own respect. To say whether a film is influence or not by another medium is a problematic area as there are many factors to account for which can influence an artist’s project. In Philip Lutgendorf’s article, Is There An Indian Way of Filmmaking? (2006), he attempts to suggest how texts from the Indian cultural heritage could be used for the discourse of both Indian cinema as well as to the study of cinema itself, which justifies discussion. This essay will attempt to challenge Lutgendorf’s ideas within his article through Hayao Miyazaki’s film, Spirited Away (2001) through the discussion of manga/animae origin, Japanese mythology, and genre hybridity.

Ghost in the Shell (Oshii Mamoru, 1995) is a substantial film that depicts a future where man and machine are intertwined. Set in the year 2029 A.D., East Asia has become a corporate society that has flourished in the advancement of technology. Presented with a future of advanced cybernetics and sophisticated networks, the mainstream for many in this progressive culture is body modification and augmentation. The meld between man and machine has resulted in the creation of what is known throughout the film as a cyborg.

Spirited Away is film written and directed by Hayao Miyazaki. The messages contained within Spirited Away are almost entirely steeped in symbolism. On the surface, the film can be seen as young girl that struggles through a terrifying situation while trying to maintain and develop her personal identity. This is indeed the story I believe Hayao Miyazaki intended to tell. However, there is symbolic representation behind almost every single character and object of the film. There are smaller metaphors contained inside the larger allegory. Admittedly, a lot of the base ideas I will explore in the proceeding text is not my own. However, I will use my own observations to expand upon this third-party’s analysis, and make the argument my own.

An attraction aggressively subjected the spectator to “sensual or psychological impact.” According to Eisenstein, theater should consist of a montage of such attractions, creating a relation to the spectator entirely different from his absorption in “illusory imitativeness.