Film Theory Through the Senses - section B (Movies (1 (Rear Window), 2…
Film Theory Through the Senses - section B
Window and Frame
FRAME: 1. Formalist/Contructivist ; 2. Armenheim ; 3. A "presentation" / structure
OPEN: 1. Oriented outward ; 2. Window
RUDOLF ARNHEIM 1904-2007: 1. Formalist "Cinema does not copy or imitate, but that it creates a world a world and reality of its own"
SERGEI EINSENTEIN 1898-1948: 1. Metric Montage ; 2. Rhythmic Montage ; 3. Tonal and Overtonal Montage ; 4. Intellectual Montage
WINDOW: 1. Realist ; 2. Bazin ; 3. Screen becomes transparent ; 4. Voyeorism
CLOSED: 1. Oriented inward ; 2. Frame
ANDRE BAZIN 1918-1958: 1. Realist ; 2. Saw film used as propaganda in WWII, lost faith in the film ; 3. Italian Neorealism revived his respect for film
Chapter 2 Cinema as Door: Screen & Threshold
Threshold: simultaneously connects and separates (Ex. Border)
Bakhtin: Russian theorists with the belief that every text is related to another text, around 1930 and 1940
Post-structuralist: way of studying how knowledge is produced
Narratography: "a reading of the image and its transitions for their own plot charge." (52)
Paratexts: credits, trailers, commentary tracks, etc. Discusses texts that surround another texts.
Screen: membrane, denotes arrangment of hiding and reveals, "scrim" - shields or protects, transgression.
Doors: signals one crossing point of one space to another. Invokes the transport from one ontological or temporal realm to another
story(Fabula): derived from the plot, creates story so spectator follows events
Plot(Syuzhet): sequence of events
Cinema as Mirror, Face and Close- Up
Primary identification: identifying the film as something thathas actually happened. Not noticing the existence of camera.
Secondary identification: identifying with characters in the film. Attach elements of yourself onto the characters.
Paradox of exteriorization and intersiorisation,
you look at your exterior body and your identity inside
Paradox of mirror
Paradox of motility and inexpressiveness
Bela Balazs (1884-1949). Close up of face shows underlying thoughts/emotions
Apparatus Theory: relationship between the projection, the screen and the spectator
Chapter 4: Cinema as Eye
Interpellation: idea put into mind
Suture: theory - continuity editing (1977)
Panopticism: acting differently under surveillance. Panopticon
Apparatus Theory: viewer unaware of what's on screen
Mulvey: film form objectifies women (1975)
Male gaze: film in heterosexual male perspective
Women = erotic object
Criticized for overestimating sadistic pleasure
Cinema As Skin
Terms to know: phenomenology, body genre
Vivian Sobchack (2004)
"experience by experience". "Cinesthetic subject" experiences the film in their body without being aware of it
Laura Marks (2000)
Hamid Naficy (2001)
Skin as the seperation of self and other
Linda Williams (1991)
body genre: considered a low genre because it's connected with the body. They produce a reaction that's uncontrollable.
Barbara Creed (1993)
Talked about fear of the abject
Cinema as Door; "Threshold"
Mary Ann Doane "The Voice in the Cinema"; for appliances of sound in film.
I am Legend
Barthes - Upon Leaving the Movie Theater
Bazin - The Evolution of the Language of Cinema
Metz - The Imaginary Signifier
Mulvey - Visual Pleasure and Narrative Cinema
Doane - The Voice in the Cinema
Phantasmic Visual Space - At that moment the space of the film is established by the sound, created by room tone, reverberation characteristics, and sound perspective. "the bouquet that surrounds the words, the presence of the voice, the way it fits in with the physical environment"
sound is a medium: material heterogeneity
Deleuze - TBA
Rodowick Virtual LIfe of Film excerpts
Sobchack - What My Fingers Knew
Linda Williams, "body genres"
connection of cinema with the human body and senses
Eisenstein - Film Form
Metz - Film Language
Kracauer - Theory of Film "Basic Concepts"
Balazs - Theory of FIlm "The Close Up"
Bordwell - Poetics of Cinema "Cognition and Comprehension.."