Between 1907 and 1913 Kracauer studied architecture‚ eventually obtaining a doctorate in engineering in 1914 and working as an architect in Osnabrück‚ Munich‚ and Berlin until 1920. From 1922 to 1933 he worked as the leading film and literature editor of the Frankfurter Zeitung (Frankfurt Newspaper) in Berlin‚ where he worked alongside Walter Benjamin and Ernst Bloch‚ amongst others. Between 1923 and 1925‚ he wrote an essay entitled Der Detektiv-Roman (The Detective Novel)‚ in which he concerned
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Window vs. Frame? Sergei Eisenstein: The Formalist Andre Bazin: The Realist The language of cinema has been developed by trail and error over the past one hundred years by pioneers venturing into uncharted territory. Today anyone with a T.V. set is accustomed to the language‚ perhaps without even realizing they are taking part in a “conversation”. This conversation has to be created by using a cinematic language. Among such pioneers that crafted this language are‚ Sergei Eisenstein‚ a man who
Free Film theory Film André Bazin
Total Cinema Andre Bazin in his article‚ The Myth of Total Cinema‚ asserts that motivation behind cinema is realism. He explains his theory by examining the technology of cinema. He argues that cinema was not born from the technology advancement but rather from innate desire to reproduce the realism of our world. “The basic technical discoveries [are] fortunate accidents… essentially second in importance to the preconceived ideas of the inventors” (Bazin‚ 200). What Bazin means is that the invention
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culminate in Rossellini’s Roma citta aperta (1945) and De Ska’s Ladri di biciclette‚ and to begin to decay after De Sica’s Umberto D (1952)‚ which Guglielmo Monetti has portrayed as the last neorealist masterpiece.3 Whereas French critics such as Bazin and Deleuze have ascribed to neorealism the achievement of a unifying
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Hannah Kerr Green Cultural Studies March 17‚ 2014 “Grizzly ghost: Herzog‚ Bazin and the cinematic animal” By Seung-Hoon Jeong and Dudley Andrew Overall‚ Hoon and Dudley’s article “Grizzly ghost: Herzog‚ Bazin and the cinematic animal” is valuable and interesting. It is written for an audience who has seen The Grizzly Man and is very familiar with its content because there are not many explicit references to specific moments in the film. I appreciate that Hoon and Dudley introduced the text with
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Kracauer scrutinizes the sets of “The Cabinet of Dr. Caligari” and writes about them in his detailed essay. Kracauer points out the “jagged‚ sharp-pointed forms strongly reminiscent of gothic patterns.” (69) He points out that these strange and gnarled compounds leaned towards those of homes and familiar objects such as walls. (69) Kracauer declares that “... the settings amounted to a perfect transformation of material objects into emotional ornaments.” (69) According to Kracauer‚ each
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September 3‚ 2014 Lecture 1 Professor Barry Keith Grant Terrance McDonald – Course Co-Ordinator Cinema – Industry‚ a social institution‚ entertainment‚ an art form. September 5‚ 2014 Lecture 2 Becoming a Film Student An introduction to screening and viewing practices September 10‚ 2014 Lecture 3 The Beginnings of Cinema Peter Mark Roget (1769-1879) Persistence of Vision Thaumatrope (1824) Animation Cel Zoetrope Invented in 1833 by British Mathematician William George Horner Panorama
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I will argue that Paths of Glory exemplifies a formalist use of the cinema’s frame in its realistic depiction of a World War I court marshaling of three French Soldiers sentenced to death for cowardice. Dudley Andrew discusses the differences between the formalist view of screen as frame and the realist view of screen as window within film theory and I will use his arguments to better understand how Paths of Glory can at once accept realist theory and formalist theory through its conscious exploitation
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Kracauer criticises Caligari for its place in a period of German “studio constructivism”‚ where a false world would be created to preserve the collective “German soul” from true‚ incalculable reality. This assertion‚ however‚ suggests that the intention of the film’s production was akin to wartime propaganda and a deliberate‚ sinister choice. The reality may instead have been that a studio production suited the style of the film far better‚ and as can plainly be seen by any viewer of the final film
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advantage from his absence.’ (Bazin 1967: 13)‚ one has to first define what is meant by art. This commentary is going to examine this statement using three different definitions of art‚ Bazin’s‚ Tolstoy’s and Arnheim’s definitions. Andre Bazin believed realism lies at the heart of art‚ and that art is the process of reproducing reality. He believed that an artefact should ‘helps us to remember the subject and to preserve him from a second spiritual death’ (Bazin 1967: 10). He saw art as a way
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