Video Syndrome Vivian Sobchack Analysis

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

Margo DeMello begins her chapter, Theorizing the Body, by making reference to the history of horror films and their relation to how society interprets the human body (3). I found this aspect to be particularly engaging in that, when examining western culture, a high number of people consume a form of entertainment, whether it be film, television, music or books. With that in mind, it is crucial that one considers how a person is meant to navigate the storylines and imagery presented to us. What subconscious messages are being relayed? What blatant propaganda is being communicated? Mass media is a powerful outlet in conveying ideas and, as DeMello opened her book discussing horror films (one of which she mentioned, I have a scene from tattooed

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.

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

Movies have the ability to transport people to different times and places and distract them from ordinary everyday reality. They allow for a range of emotions to be experienced. At their core, movies examine the human condition. There are plenty of deeper truths woven into screenplays and plenty of lessons to be learned, even when an individual is solely seeking entertainment.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

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’

Laura Mulvey has discovered the term of ‘Male Gaze’ which has been discussed in her text, Visual Pleasure and Narrative Cinema, which was published in 1975. In her text she has discussed that in film, audiences get to experience to interpret the characters in movie from men’s perspective because the camera acts as male gaze. Male characters are more to be active which they drive the narrative in films. On the other hand, female characters play passive roles that are act as object for visual pleasure. Tap and Touch Cinema is performance art which Valie Export has done around the Europe in 1968 – 1971, it will be relating to the male gaze.

Sound is also a crucial aspect for these three genres of film when discussing bodily excess. In these three genres. The sensation of the body is portrayed by Horror’s shouts of terror and fear, Pornography’s sounds of pleasure and orgasm, and Melodrama’s sounds of crying and conflict.

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.

Haneke has also used subtle film techniques to add to the sense of a breakdown of communication. The camera is always positioned in such a way that makes the audience feel detached from the characters. Rather than connecting emotionally with the characters, the audience is made to analyse them, thus reflecting the emotionless state which our society has assumed with changing values. The characters themselves are not named, allowing them to become representative of types within society. The use of media is also present throughout the film with Haneke showing the increasingly invasive presence of media within society as values change and mankind becomes more technological and industrialised. By repeating the same articles at the end with the embedding of the films event as another story, Haneke comments on how the media subsumes any disturbance into the even surface of society and integrates it into the unending stream of trivialised information.

There are many ways that one can analyze a work of art. To say that something as complex as artistic expression can only be looked at or defined in one dimension is nothing short of a lie. In realizing this, we must also realize that film is like any work of art, the many messages and ideas behind a well thought-out film are nearly uncountable. With that in mind, perhaps one of the best ways to analyze film is through a method known as "Cognitive Psychology". Cognitive psychology deals greatly with practical perception, emotional, and conscious responses of viewers. By using cognitive psychology, we seek to explain how we recognize objects, fit disparate elements into orderly patterns, experience joy and sadness through art, and simultaneously understand multiple meanings and so forth. When we apply this theory in practice, it revolutionizes the way in which we can see the meaning behind movies, instead of relying on traditional concepts and roles to determine the ideas behind a work of film; we can shift the critical emphasis on a film to the viewer. In effect then, the viewer becomes an active participant in the creation of a film's effects and meanings. While there are a wide variety of movies that can be looked at using this method, perhaps one of those that come easiest to mind is Memento, a thriller in which the main character is afflicted with antro-grade amnesia, or the inability to create new

What would your life be like without cinema? I can guarantee that in some way, shape or form, your life has been changed due to film. Ever since its conception in 1896, cinema has been a magnificent source of wonder to millions of audiences. In particular I want to discuss the idea that great cinema is provocative, with the help of what’s widely regarded as the greatest film of all time- “Citizen Kane”. I believe great films possess the ability to provoke audiences not only through entertainment, but also by being able to reach deeper and inform an audience about what it means to be human, regardless of where you are. Who you are. Where you come from. What you have experienced. The very crux of what makes Citizen Kane, and any film great, is its ability to interact with and provoke its audience.

The evaluation of a film assigns some form of value to a film and the experience you encountered while watching the film. Evaluation can imply the criteria and standards that you can argue about to place value on a film. Thus, giving people a reason to question a film to develop reasons, make such standards are met and to understand the film. These standards can stem from the classical evaluation and pluralistic-category method which has given viewers a blueprint of how you should properly evaluate a film. There are certain ways that you can go about judging a films effectiveness. For instance, the classical evaluation method imposes the use of cinematicity within three concepts that all films should have. Like medium specificity, cinematicity allows film to distinguish itself from theatre with the use of close-ups, camera movement, etc.; thus, creates a universal structure for critics to judge a film. This is based on the creative style of the director and how much the viewers admire the way the has stuck with its cinematicity. However, the pluralistic-category does not base its evaluation on style and opinion. In all, these types of evaluations are used in different ways which will be further explained throughout this essay.