German Expressionism “… the expressionist film is primarily a visual phenomenon‚ a mise-en-scene of fear and desire. Internal conflicts and ambivalences are projected on to an external world that has become foreign and strange‚ a process that finds expression in the destabilization of the subject at the center of the narrative…” (Hake‚ 2002: 31). In light of the following observation by Hake‚ this essay will be looking at her statement and how it can be applied to the 1920 film The Cabinet
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Print. Christensen‚ Jerome. "Spike Lee‚ Corporate Populist." Critical Inquiry 17.3 (1991): 582+. Print. Eisenstein‚ Sergei. “The Dramaturgy of Film Form.” Film Theory and Criticism. Braudy‚ Leo and Cohen‚ Marshall. New York: Oxford‚ 2009. 24-40. Kracauer‚ Siegfried. “Basic Concepts.” Film Theory and Criticism. Braudy‚ Leo and Cohen‚ Marshall. New York: Oxford‚ 2009. 147-158. Lee‚ Spike‚ and Henry Louis Gates‚ Jr. "Final Cut." Transition 52 (1991): 176-204. Print. Pudovkin‚ Vsevolod. “[On Editing]
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the Photographic Image” by Andre Bazin‚ it opens the discussion of the origin of painting and sculpting‚ whether it was started by an ancient Egypt religion or something else. The first two paragraphs of the article explains the ancient Egypt religion of preserving their dead by covering them in cloth in order to keep up their appearance after reality (in death). However‚ modern day society is not considered with their appearance/survival after death but‚ more of Bazin says “[…] the creation of an ideal
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The Development the Language of Cinema * Bazin states “of course cinema is a language” * Language – communicates * Bee dancing is a form of communication‚ very effective as a means of communicating information‚ but would not call it a language. * Language has a capacity to make meaning which is not transmittable to other languages. * Each language makes meaning in a manner special to itself. * For Bazin‚ film makes meaning by showing us the world * The photographic
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References: Eisner‚ L.H. 1973. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. Berkeley and Los Angeles: University of California Press: (9-5‚ 17-27). ISBN: 0-520-02479-6 Kracauer‚ S. 1946. From Caligari to Hitler: A Psychological History of German Film. Princeton: Princeton University Press: (61-76). ISBN: 978-0-231-13055-4
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becoming a hero and succeeding in bringing justice. This model fits the classic western produced and directed by George Stevens‚ Shane‚ perfectly. Westerns are tailored perfectly to the general audience’s minds and are conducive for dream states. Andre Bazin‚ author or “What is Cinema?” delves deep into how the western genre can emotionally entice the audience due to their striking characteristics. More generally‚ Rudolf Arnheim‚ author of “The
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Cited: Bazin‚ Andre. "Neorealism and Pure Cinema: The Bicycle Thieves." Theory Kit. 21 October 2007. Web. 1 May 2011. Bicycle Thieves. Dir. Vittorio De Sica. Perf. Lamberto Maggiorani‚ Enzo Staiola‚ Lianella Carell. Criterion‚ 2007. DVD. Burnett‚ Charles. "Bicycle
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Italian Neo realism; Pure Cinema 1. Ladri de Biccilette [Bicycle Thieves] (Vittorio De Sica) Do you agree with Andre Bazin that Ladri de Biccilette is an example of ‘pure cinema’? (Bazin [1971] p.60). To what extent is such a pure cinema possible and‚ in your opinion‚ which Italian Neo-realist film screened on the unit comes closest to it? Explain your reasoning. This essay will address the characteristics of ‘pure cinema’ and the extent of its practical nature. It also seeks to analyse
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Page Introduction to Film Art Fall 2013 Malcolm Turvey Office: Heimbold 304F Extension: 2644 E-mail: mturvey@slc.edu Syllabus Required Textbook: David Bordwell and Kristin Thompson‚ Film Art: An Introduction (New York: McGraw Hill‚ 2012; 10th edition) Class Schedule: NB: Readings marked (X) must be downloaded from MySLC Week 1 Conferences 9/10: NO CONFERENCES Screening 9/10: Collateral (Michael Mann‚ 2004‚ 120 min.) 9/11: Read: Introduction: Film as Art Film Art‚ Chapter
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beliefs on realism‚ Dogme 95‚ and how this influences his most popular trilogy‚ the "Golden Heart Trilogy". In my analysis of his realistic techniques‚ I will be assessing to what degree von Trier’s methods are in accord with the theorizing of Andre Bazin‚ one of the most recognized figures in the history of realist film criticism. Lars von Trier is perhaps most well-known as one of the key contributors to the Dogme cinema movement. Together with Thomas Vinterberg he drafted up the “Vow of Chastity”
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