In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.
Movies, being an influential factor in our society, make a great impact on our outlook on foreign and
Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film
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.
Australian film and television deal with such themes by accepting the reality of Australian contexts. The Australian demographic are known for their rough humour and approach, hence the depiction of an Australian man, or woman, can be taken lightly and not offensively. At the same time, film and television are careful in representing Indigenous Australian as opposed to stereotypical white Australians. It is these historical, political, socio-economic ideologies that shape Australia’s national ‘type’.
Cinema grants the possibility for an average citizen to escape their mundane life, and delve into a realm of fantasy. However, the film industry fails to act as an instrument in societal progression by instilling superficial ideologies. In this article “Dear Canadian filmmakers…”, Cameron Bailey suggests that Canadian filmmakers ought to shift their perspective by looking more outwards than inwards. As Bailey's emphasizes the significance of producing content that appropriately depicts contemporary Canada. Baileys draws attention to the fact that both, the audience, and the critics have a preference for “drama of real life” based films as opposed to fiction based films. Furthermore, he discusses how filmmakers tend to turn the blind eye to
In his essay “E Unibus Pluram” David Foster Wallace critiques the fast-cutting tropes of contemporary cinema and television as meretriciously catering to our desire to transcend our average daily lives. These hysterical collages are, in his words, “unsubtle in their whispers that, somewhere, life is quicker, denser, more interesting… more lively.” We leave these films dazzled, punching the air, ready to do combat with a gang of bad guys or lose a pursuer in a car chase, but enjoy none of the edifying potential that Leo Tolstoy and other early theorizers of cinema’s potential saw in the fledgling art form. Contemporary independent cinema often works in stubborn self-conscious contrast to the transcendence aesthetic, but too
“I’m going to make a name for myself. If I fail, you will never hear of me again” Edward James Muggeridge. True to his words he succeeded in making a name for himself and he created the first movie or “motion picture”. Movies are a rollercoaster ride that transcends people into a whole different world fresh out of somebody’s imagination as seen through the genres of horror, drama, and science fiction. The movie business allows people to break through the burden of everyday life. Considering today’s way of life, people would be lying if they did not admit that movies are an influential entity in our culture. Movies have been successful in ingraining values and elements into society. Movies exaggerate, sensationalize and at
Films should be both entertainment and should also tackle challenging ideas. It’s good to have varieties of films, because we watch film depending on what we are in the mood for. Sometimes we watch to learn about history we never knew about and
CRITICALLY 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?
Nagib, Lucia and Anne Jerslev. Impure Cinema: Intermedial and Intercultural Approaches to Film. London, U.K.: I.B. Tauris & Co Ltd, 2014. Print.
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
Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.
How can we explain this paradox of Nollywood’s boom whose film products are being madly sought after by the audience it targets and yet remains a victim of the scorn and contempt of the Western press? Nollywood’s success story is paradoxically a result of an economic failure of structural adjustment policies in Nigeria, which rendered the shooting of celluloid films prohibitively expensive (Ayakoroma 2010). By cutting corners and avoiding all the difficulties that francophone movies had to contend with in depending wholly and solely on French subvention, Nollywood has aggressively filled the void that Western filmic can never really fill in poverty-stricken African contexts. Born out of an economic necessity, Nollywood,has sadly been conditioned by the urge to make profit while paying little or no attention to ideals of promoting a national esprit de corp, ethics of respect for copyright laws or the recounting of the collective story of the people (Ayakoroma 2010).
The BBFC has commissioned me to undertake research as part of a project to ascertain to what degree films can be regarded as powerful within contemporary society. In this assignment, I will comprehensively explain the relationship between audiences and films with well explained examples. I refer to the different sectors relating to the topic that include the following: