1) EVOLUTION OF FILM In 1873, Leland Stanford, a former California Governor needed help in winning a bet that he had made with a friend. Stanford was convinced that horse in gallop had all four feet off the ground and was bent on proving it. Since it was impossible to prove such a thing by merely watching a horse race, he employed the services of Eadweard Muybridge, who was a well-known photographer. Muybridge worked on the problem for four years and finally came up with a solution in
DISCUSS ANY OF THE FILMS SCREENED IN THE COURSE IN RELATION TO DISCOURSES SURROUNDING THE “DEATH OF CINEMA”. WHY ARE SUCH IDEAS/DISCOURSES ATTRACTIVE TO PARTICULAR FILMMAKERS AND TYPES OF CINEMA? Notions surrounding the “death of cinema” have been infiltrating cinema discourses for many years now. As we move away from cinema in its ‘purist’ form, we have almost completely transitioned into the digital age, and with this transition, ideas and opinions on the ultimate fate of cinema have become more
Mode of Design Although art therapy is a new practice in psychotherapy, art has always been a form of communication since the beginning of the human history. Evidence is found from the finding 40,000 years ago during the Aurignacian period, on a cave painting found in EL Castillo Cave, Cantabria Spain. Since then, art had become an instrument for self-expression and symbolism. However, it was not until the 1940’s that the therapeutic use of art was then define and develop into a distinct discipline
Within the article, ‘Non-Cinema and The Location of Politics in film’, Lúcia Nagib captures the moment where films suggest ways of transforming thought and society along with them. He inquires whether conventional cinema itself would still be alive and able to contribute to social change in today’s world or if we have advanced to realist-cinema as a medium to spark change. He proposes to think along the lines of ‘realist-cinema’, a medium which disregards its own limits in order to politically
Kyle Keitz Professor Mullens Film 221 March 5, 2013 Art Cinema Characteristics in Persona According to David Bordwell’s research, Hollywood had a basic outline on how they made their films. The classical narrative cinema follows narrative structure, cinematic style, and spectatorial activity. In Classical Hollywood Cinema there is usually a psychologically defined, goal oriented character that’s easy to like. Foreign countries had a different way of making film, post WWII, Europe reestablished
in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry
Throughout literature and cinema history, horror has been used to hide certain fantasies and reach into the deepest parts of the human conscience where their most inner fears exist. It was not till recently that horror characters were used to reach into other parts of the human brain: sexual desires. There are many horror films and books that show women falling for their alleged rapist, characters developing relationships with supernatural creatures, and girls wanting to tear the clothes off a vampire’s
Awarded for the Best Original Screenplay and Best Film at the Australian Academy of Cinema and Television Arts (AACTA) ceremony, director Jennifer Kent brings to life a unique form of horror in her psychological thriller film, The Babadook. The film focuses on a mother and her child as they go through a dark period of their lives. The mother, whose name is Amelia, lost her husband in a car crash when they were on the way to the hospital for her to give birth to her son, Samuel. Due to the death of
(1981). Art cinema as institution, Screen, 22(1), 11-39. In Art Cinema as Institution, Steve Neale outlines the role of Art Cinema in the attempts made by various European countries both as a means to challenge ‘American domination of their indigenous markets in film” (p.11), and to further develop a film culture of their own. Neale theorises that a general pattern of the history of Art Cinema within the French, German and Italian film industries, follows an early period in which the cinema appealed
Throughout the history of cinema, a never-ending evolution in technological progression – paired with filmmakers’ resourcefulness and ingenuity – allowed for the development of style and encouraged a more involved craft, thus giving individual films a specific personality which therefore eased the process of discerning which piece of cinema was created by which filmmaker. Because of the progress made in film technology, especially early on, certain aspects of filmmaking that once were inconceivable