Film Theory

Film Theory

Aesthetics & Films

Introduction & Concept

Aesthetics as in general, covers the artistic phenomenon left by the architecture or painting or music. It can be dubbed as a theory that has everything to do about beauty in all its delightful, pleasant and stunning aspects that revolves around in the ‘World of Art’ and beyond. In simple terms the pleasure derived from the artistic sense, with the ‘beauty’ filled in the piece of art. And the term aesthetics that was generally used for art and architecture broadened to film only in the later part of 20th century.

The concept of aesthetics and its term comes from the philosophical origin near 18th century. And it is well known that an aesthetic theory constructed by a German philosopher Theodor Adorno, set of criteria  to assess the artwork. It is well noticed that every artwork made is evaluated in different aspects based on the concepts, purpose and how far the concept has reached the mind of its viewer/audience. This sort of judgement decides the aim of the artwork presented and considered as an experience gained from the portrayal of work.

When, dealing with the concepts, the first thing that comes to the mind is the preference. Paying attention to the beauty and details expressed is the basic principle to judge and reason to bring forward both criticism and approval of the audience.

The beauty brought forward, is not just artistic but also made realistic, from scenes used to character portrayed resemble with the characters of real life. This is also called as imitation/representation of characters is otherwise also called as realism.

Aesthetic attains its beauty only when the quality of the art is reached, the visual creativity achieved with its colors and the arrangement giving a visual delight to the viewers and is not realistic visual but emphasis on the way the visual is portrayed.

The intentions in which the artwork is done, the quality does not end with just visual creativity, it extends to the expressions and emotions, that communicate the feelings from one side to other, representing the views of the views and vivid ideas of the crowd in the form of art that not only calls for attention but also arouses emotions of the audiences. And artist who can understand that kind of emotional pressure can succeed in giving out the right the message to the viewers.

The aesthetic experience is gained from understanding and appreciation of the work. An appeal that gains attention from the object are perceived to be ‘’beautiful’. The beauty and gracefulness are the basic and the specific aesthetic properties that determine the meaning of the work. When the meaning reaches the audiences and acknowledged that is when the aesthetic experience gained.

Application To Films

There are a couple of controlling standpoints on aesthetic supposition during the Twentieth Century as voiced by the two theorists known as Edward Bullough and Jerome Stolnitz. The hypothesis of the latter, to say to the greatest extent, a very uncomplicated and easily comprehensible of the two vantage points, speaks of an aesthetic attitude expounding on a focal concentration, which is a significance of paying attention to such, unbiasedly and solicitously and by circling one’s concentration of the matter, along with the given distinct characteristic approach is adhering openly without restraint, on the given terms that tails along with the said matter, authorizing such, not a person’s preconceived ideas in ushering centered awareness to the matter. The outcome of such tunnel vision, in proportion, a much more affluent insight into the attributions of an item. The experiential inclination, permits to acquire a glimpse merely the countenances appropriate to the motive of the matter at hand. Aesthetic approach, distinctively speaking, segregates an object and zoom in on the very core of a certain thing or scene that is subjected to perusal.

Bullough, on the other hand, favors more to discourse corporeal interval instead of impassivity, typifies aesthetic esteem that can be acquired at placing an occurrence, to eloquently put it, off the rig with the manifestation  of veritable functional psyche, enabling to rise to on the external factors of an individual’s. Compactly stating it, probingly eyeing at the said matter, open mindedly, unprejudiced attributes by elucidating to the extend an individual’s very intuitive liking and preferences as essential elements of a happening, in prominent regard to the prototype. However, he, Edward Bullough, garnered reproofs, for his stand on Aesthetics regard as a consideration that demands laid-back disengagement.

In line of Aesthetic application on films, it is also likely the same as the above suppositions. Aesthetic theory of films is the exertion of specialists stipulating the frameworks of cinematic censure spanning intercontinental-wide.

Aesthetics and cinema is defined as a metaphysical of the creative skill and its source of determination was the contemporary upswing fascination of methodical thinkers concerning phlegmatic insinuations on the core subject within the cinematic suppositions and requisitions of the mainstream outflowing in aesthetics down to particular exhibition of a certain motion picture.

A cinematic motion picture is frequently subsumed with artistic method. Nevertheless, it does not completely designate identical territory. The film theory, in terms of its lineage, is relatively a focal target of an admonition relating to approximations undesignated to the films and may emanate from a firm hand domination not covered from its inner circle of sphere. It is a presentation of a much broader demonstration of the two fusion of arts itself using a myriad of incorporated methods, techniques, manpower, devices, apparatus and even the participation of literature in terms of cinematic screenwritings particularly in intellectually writing the movie lines, scripts and storyboard frameworks, plus add to that the ability and skills and the talents of the actors and staffs and directors involved in the making of a particular motion picture. Just like a marriage of the two pillars of art, this union of the aesthetic and the film theory in a cinematic movie. A film can be said as a magnanimous pool to various servants of arts itself. And some of the films listed have made their memorable mark as Aesthetic Films in the Cinema of World.

Example

Aesthetics & Films – Magnolia

To give a simple example of the beauty in films when it has the touch of aesthetic art works and style, Magnolia – an American drama film released in the year 1999. A critically acclaimed motion picture film that was put into writing and was administered by Paul Thomas Anderson that centers on the – misery, sense of grief, enduring acridity of the brutal & unfavorable “realities” of life. However, this film is not just about the mirrors of the ugly facets of crude life as it is, with the balancing existence of the proverbial “good” in it in the presence of a police officer and a of caregiver who gives everything they could to render the value of assistance, aspirations and tenderness in the midst of all these dismal situations.

Further on, in contrast to the despairing aspects of this film, it can also be taken-in as an amusing and a quite humorous and an ever enthralling motion picture movie. The plot conveys that no matter how cruel life is, no matter how unfair the situations an individual muddled himself with, there is still one surviving trail of hope to everyone’s courses of plights. This movie is all about the ugly realities of life and about a promising “rainbow of hope behind the gloomy clouds of misery underlying the circumstances of life as depicted in this movie.

This critically successful movie is a stellar star-studded film that stars Tom Cruise as Frank T.J. Mackey, Jeremy Blackman as Stanley Spector, William H. Macy as the “Quiz Kid” Donnie Smith, Julianne Moore as Linda Partridge, Neil Flynn as Daniel Hill, among the few. This unforgettable film who handsomely garnered a benevolent amount of critics from both the film experts and the viewing public began to amaze the moviegoers on its release to the cinemas on the year 1999 which was narrated by Ricky Jay who portrays as Burt Ramsey in the movie. Overall this is one heart-warming movie, that imparts the merits of the sense of optimism despite how tough the odds of life may prove to be all too disparaging.

Amateur Cinema

July 4, 2015 By admin Leave a Comment

Introduction

In the light of Amateur films, it has been regarded as an often unattended side in the subject of motion picture. Notwithstanding an excitement of widespread “layman ” motion pictures during the heydays of the 30s and 70s its advocates created some efforts in attracting the films which were generated throughout this phase. This specific perusal aims to contend the central degree conjecture given by laid implementations in academic works on this area of film studies.

Amateur Films presents reconfigurations of rambling theories, operating a composite and an evolving white-collar motion picture production.

Uniqueness of Amateur Cinema

The amateur cinema classification is not welded by monetary, artistic, bureaucratic, and kindred association. The complexity of the connections within deliberations usually showcase itself in its parallel; constantly regulated, much diverse, rowdy, divergent and exploding facets in reflection to definite amateur motion picture production.

The abstract point appeals to survey the first-hand response fastened with the advantages of amateur cinema.

Importance of Amateur Cinema

Amateur Cinema parallely expands its business in the form of public export, delivering the likelihood of inventiveness. Expressive undertakings such as amateur cinema, develops the capacity to hold on intuitive necessities, in other words it regulates and not simply formulates. Thus, the potentials of amateur storyboards are range-bound due to extensively pricey equipments that despite the spread of amateur paraphernalia may somewhat punch through the minority of motion picture fields.

Hence, the amateur cinema machineries were regarded highly as a chance for business associates considering the contention of motion picture as a medium. It can be said that the existence of Amateur cinema is a tactic of reducing magnitudes of its competitor in order to earn and conserve momentum however; an amateur cinematographer may tend to defy elementary standards, as well. This can occur due to an individual’s shortcomings, and circumstances in life. As a result, it sidetracks unruly misconceptions, approaching a dynamic norm of amateur cinema that illustrates a much concrete means of this area of film study.

Acceptance of Amateur Films

There is always an obvious notion about amateur film-makers who can generate rapid magnitude of audiences around the world that can vary in the various magnitudes of the mass communication according to the yield and output.

This is the filmmaking genre that unfolds itself with the rise of the very first animated cinematic motion picture. Amateur cinema is viewed as notably defective and insignificant. But, this skeptical treatment only augmented following the success of few Amateur films in the film houses due to number of fascinations and support given by the global film goers and enthusiasts. And despite of all the negative conceptions by film critics and enthusiasts, this genre of film cinema still became a number one favorite in living rooms of every household.

The base being that the amateur films are often the factual films that depict the real life, beliefs, norms, and lifestyle of both human conventional and primitive living of an individual and of the community.

‘The Blair Witch Project ’ – Daniel Myrick, Eduardo Sánchez (1999) serves as the best example for amateur film. Released in July 30, 1999, The Blair Witch Project is a horror genre film made by the American Director Daniel Myrick alongside with a Cuban-American film-maker, Eduardo Miguel Sánchez-Quiros.

A film documented by three college students on a witch. The Blair Witch incident which they get to hear from the locals as they go around the town and eventually get trapped as they unravel about the secrets of the witch. As the days goes by they hear constant shrieking and horrific crying at nights which makes them realize that they can never make their way out; which makes them start fearing for their lives.

This box office hit film was very well critically acclaimed and was premiered in 1999 Sundance Film Festival. This film is considered as one of the most popular amateur film in this genre especially the found footage format in the film received praise from international critics and film lovers.

Conclusion

This is the genre that mirrors the same techniques of filmmaking with the principal aspect being the amount of exposure that needs to be laid out the audience. With this forbearing grasp the filmmakers from the cinema industry can make daily ordinary lifestyles even larger than life with ease. In conclusion, finding out the innovative ways from the commercial productions that can make the audience watch the film till the end in an amateur film is also one of the facade of the film studies.

An Experimental Cinema

May 14, 2015 By admin Leave a Comment

Introduction

An experimental cinema is a genre in film making which is characterized by the use of a non-linear narrative, use of an asynchronous or no soundtrack at all. It is a low budget film, usually self-funded or financed by small grants and funds. The crew consists of a very few people, sometimes just one person who is the filmmaker.

Origin

The origin of experimental films dates back to around the 1920s when visual media was gaining popularity as a form of art. It was a distinct part of the avant-garde movements back then. Surrealists and French impressionists laid emphasis on exploring the genre whilst experimenting with the non-linear narrative, soundtracks and camera work. By the 1950s, the movement reached France. Artists like Hans Richter, Jean Cocteau, Dudley Murphy and many others became important experimental filmmakers who contributed to the European Avant Grande.

Films of Time

The most famous experimental films of all times were considered to be Luis Bunnel and Un-Chien andalou. Others in the list are ‘ Berlin: Symphony of a metropolis ’ by Walter Ruttman and ‘ The man with a movie camera ’ by Dziga Vertov filmed in Berlin and Kiev respectively. These films and many others were instrumental in creating a new focus angle, slightly away from classical Hollywood films.

Growth of Experimental Cinema

The actual ‘ birth ’ of experimental cinema took place in the post-world war Avant Grande in America. Although the European Avant Grande had its influence on Hollywood since the 1920’s, with films like Manhattan by Paul Strand and Charles Sheeler and also Life and Death of 9413: A Hollywood extra, it had left a mark on Hollywood. These films were made before the world war and were characterized by artists working in isolation. These series of activities in film societies continued over the next two decades when in around 1962, the perspective started changing. Films such as A Movie and Cosmic Ray, unlike the early experimental films started shifting the focus from individual consciousness and first personification to abstraction, from non-linear narrative to oblique angled narratives.

In fact, the later works even saw the addition of soundtracks in their films like the film Scorpio Rising by Brakhage where he surprised the audience with the addition of a rock soundtrack. That was the era of structural-materialist film makers. Around the 1970s, experimental films became more and more conceptualized. Yoko Ono was one such well-known name who contributed to the experimental film society with her notorious and bold film called Rape.

Conclusion

Conceptual films also encouraged feminist film makers where they promoted ideas that defy gender norms and patriarchy. Most of the artists who were involved in experimental film remained aloof from mainstream Hollywood and became professors at universities like State Universities of New York, California Institute of the Arts, Massachusetts College of Art and a few others. Though these filmmakers themselves do not hold college degrees, they continue to pursue their practices and refine them while continuing to teach. The inclusion of this subject in the film courses has further led to the popularization of the genre.

Animation Cinema

July 22, 2015 By admin Leave a Comment

Introduction

Animation is organized through the expertise of animators to input movements and motions to inanimate objects in an animation film. The powerful motivational peremptory of the leading advocates of Animation fall mostly on the technical approaches thus they attempt to experiment on it with artistic means. These animators try their skillfulness by measures of artistic methods. The artistry and skillfulness of current animated films hold back immediate demands of graphics that is dependent with its factual quality.

Origin

Animation motion picture mobilizes the audiences to be responsive of animation that delivers a conventional circulation. This animation technology that first came to being in 1877 through a viewing device called as ‘Praxinoscope ’ invented by French scientist Charles-Emile Reynaud with a later discovered system called Theatre Optique strips of images were put in to showcase the first animated cartoon films called as ‘Pantomimes Lumineuses ’ that had three short films

·         “Pauvre Pierrot” (Poor Pete) – this film was made in 500 frames

·         “Le Clown et Ses Chiens” (The Clown and His Dogs) – this film was made in 300 frames

·         “Un Bon Bock” (A Good Beer) – this film was made in 700 frames the most number of frames than the previous two short films

Later this type of animation films became a trend setter and full-fledged animation films came to being. Emile Cohl’s Fantasmagorie released in 1908 is considered as the first animated film made from simple drawings. Later the first animated feature film was released ‘The Adventures of Prince Achmed ’ based on Arabian Nights and then came the classic animator Walt Disney that everyone knows with his films Little Red Riding hood, Mickey Mouse Adventures etc.

Exposure to Animation Cinema & Movement

The animation cinema is sweeping. This estimation spans all the way to digital animation that considers the means of how animation cinema contemplate the aspects that develops the borders of animation. A section of the fascination in line to this intention inclines to the evocations of this genre. In order to absolutely hold the heart of animation, an animation enthusiast must realize that animation does not simply edge itself in the genre bracket. Animation cinema, also cover and touches on fantasy, drama, suspense, sci-fi and comic and horror films that appeals both to the kids and adults alike such as Dave Fleischer and Shamus Culhane’s Betty Boop’s Bamboo Isle in 1932, Chris Sanders and Dean DeBlois’s Lilo & Stitch in 2002, Rintaro’s Metropolis in 2001, Chris Buck and Jennifer Lee’s Frozen in 2013 and Genndy Tartakovsky’s Hotel Transylvania in 2012 to name a few.

Hotel Transylvania is a computer generated 3D film that was produced and was directed by a Russian film maker, Genndy Tartakovsky. This film was released to the theaters in September 28, 2012. The film is about the story of the celebrated Count Dracula who runs a grand hotel in Transylvania and his daughter who fell in love with an ordinary human boy. This motion picture stars Adam Sandler as the Count Dracula, Jackie Sandler as Dracula’s wife, Selena Gomez as Mavis, the daughter of Count Dracula and Andy Samberg as the human boy – Jonathan, who captured the heart of Mavis. Hotel Transylvania earned a variety of feedbacks, claiming that this film’s flippant flow might appeal to the kids and little children, yet, it’s way too clamorous and  insubstantially written storyline my fall short to the taste and preferences of mature filmgoers.

Scope

The scope of concentration of Animation cinema not just centers on supremely outlined feature motion picture. It is essential to accept the fact that animation is a product and aspect of the motion picture’s distinctive history, constitutional strength and component. The objectives continue to prevail as an orbit both for the short and full-length feature cinematic animation motion pictures. The quality and quantity of Animation cinema both differentiate gross domestic output.

Conclusion

The basic motion pictures commenced in the form of animation. Its lineage machineries and mechanisms began with enchanting graphics and craftsmanship. It takes heed to the exercise of flip books, with the jaw-dropping speed of light. In addition to this, even with a cinematic camera, an animated frame is also related with fanciful characteristics and the riddles of this genre which emphasizes the countless devotions of animation. The structures and surface of animation illustrate and over-elaborate displays its exquisite trickery. Animation cinema makes the audiences view and discern true to life locomotion from the make-believe mobility.

Anthology Films

May 6, 2015 By admin Leave a Comment

Introduction

Anthology films is like a dipper of a motion feature that showcases a number of short films incorporated in a single film roll. This was created and imagined for the purpose of entertaining and catering to the different tastes and preferences of the film goers while dishing-out to them a group of a variety of segmented plots and storyboards all in one film. The sets of films within an anthology film normally does not have any connection with each other but they do have something in common when it comes to the plot that links and consolidates each segment throughout the film. In an anthology film, the featured films are given credits and exposure to the public.

Origin

Anthology Films began to flourish ever since its first premiere in the cinemas that has started in the year 1973. Almost some of these types of films are usually unique in frameworks, substance and fundamentals. Produced within an excessive whirlpool of anthology classifications that does is not only stuck to the platform of horror, suspense or thriller motion pictures nor does it solely encompass for the exhibition of aesthetic intention alone. Anthology films are also one of the bases to achieve the cinematic experimentations as it also helps and permits both the filmmakers and film writers to further broaden their fields of expertise though the help of different elements and aspects involved in the production of an Anthology cinema.

Exposure to Cinema & Movement

The powerful magnitude of the exercise and the representation and practices of an Anthology film is being fed with an impressive turning point. Anthology cinema is an integrated experience in respect of how it is executed. In compliance to the discussion on the factors of the recurrences in the plots, the Anthology film is classically systematized. Each of the short film segments within an Anthology film is unique. Historical documentaries by various explorers and amateur travelers can also be an outstanding prospect for an Anthology film.

As on date ‘The Twilight Zone’ directed by Joe Dante, John Landis, Steven Spielberg and George Miller is considered as one of the best examples of Anthology film. The original TV series of this film was created by Rod Serling. The aspects of anthology Film is executed in the “Four Rooms” which was directed by Quentin Tarantino, Alison Anders, Robert Rodriguez and Alexandre Rockwell. Its shady and satirical amusement that was repeated in each segments of the film appealed to the film audiences. This was the reason why Four Rooms earned blockbuster sellout on the day it was premiered in 1995.

Concept

To pinpoint the units in understanding the approaches of anthology film – is to differentiate the factual methods that contains graphic patterns intended for the re-fabrication of the anthology films. The film is so that it can be arranged and recorded in a certain sequential order. At the event that the films are gathered and are prepared to be produced, a master copy is then made which will be subjected for further reproduction.

The drawing of past cinematic films attracts a considerable attention and fascinations of the filmgoers. The records for anthology films preserve, exhibit and study the less popular anthology films as well as the independent and short films. The Anthology Film registry in the United States is dedicated for the protection of these cinemas.

Conclusion

The stimulating confidence that was raised up by the filmmakers was the motivation of anthology films. It is aimed to modify the designated techniques of Anthology films. In order to achieve an outstanding recognition, a thorough calculation is executed by means of gathering together a number of short feature films to constitute a full-length cinematic film. This provides a sweeping coverage of ability and craftsmanship.

This field offers the films loves a chance of amusement by making them watch and evaluate anthology films in a deeper and interactive sense. It also strives on managing the fabrication, disposal and the execution of Anthology films that are adequately recognized as the response of its audiences and followers.

Apparatus Theory

August 16, 2014 By admin Leave a Comment

Introduction

Apparatus theory began its sprawling sweep in the 70’s and pulled its core alpha existence from a few suppositions such as Marxist Film theory and Psychoanalysis. Its manifestations and activities orbits on the techniques of the cameras and its eagle-eye abridging. Apparatus theory circles-in about the cinema and audience connectivity relationship. This theory survives in the flagship of ethics, ideals and morals and is dubbed as an observer-oriented theory. It aims to convey how a cinema or film watcher reacts and digest the events and images delivered to them through the lenses of cameras.

Evolution

Apparatus theory evolved partially from significant theory that defines the ideals of Psychoanalysis and the suppositions of Karl Marx in his notions and stands concerning Cinemas and Films. Emphasizing on the aspects and embodiment of Films that elicits bureaucratic, fiscal, and civil ground rules and stratagem to which was, campaigned by Marx as in some measure, adapted to the ground-breaking birth of Apparatus theory in films and retaining the impression that movies and silver-screen cinemas in essence are actually a shared ideals of certain individuals in a group or society. Likewise stipulating the advocates of psychoanalysis to which its supporters strives for. Apparatus theory conveys the relevance of technical equipment and machinery in order to capture not only the mode and emotions of a movie character, the aspects of a landscape, the expressions of the glaring lights, the loud silence of a lone eerie darkroom, or the scenes depicted from the movie and film scripts, but also to encapsulate the fantasies and sentiments of the moviegoers themselves thus strengthening further the already tight proverbial bond and relationship of the movie spectators to cinemas through the bridges of the powerhouse movie camera lenses.

Theory

Apparatus theory is all about the cinematic devices that captures and records optical imagery as required by the demands of the cinematic bible which is the written movie scripts, and how it easily links to the audiences as though like a massive metal chain that never breaks apart. In putting it simply, Apparatus theory is an affinity between the movie audiences and the eyes of the movie cameras being used in a cinematic film. To be able to understand and identify what the audience wants and vice versa and also to make audiences identify themselves and their passions with the movie they watch. Sergei Eisenstein said, the cinematic exquisite essences and worth rely on how to metamorphose  the “real world” occurrences within the orb lenses of the cameras.

Importance On Films

In bringing out the film-spectator relationship, apparatus theory is also one such theory that explains the relationship. The cinema being the absolute imagination that other form of Arts. Metz defines cinema as ‘prerecorded view of the object’ where there are parts in which there is absence of reality. This is the basic condition that needs to be fulfilled by drama or cinema. And with such an understanding the spectator identifies the cinematic apparatus through the act of perception. The process of perception originates from the spectators point of view, as the visual images are seen and transcends in the subjects head akin to the shots and angles of the camera, the spectators gets to experience the narration point of characters that is recorded and shown in the screen. The spectators becomes the projects, receiver and also the camera that recorded the view point. This process can be argued it has limited relevance in the real world, on the other hand this theory can be used as a bridge that peeks into a spectators thinking process and improve on the projection in consumption of moving images.

Film Genre

June 7, 2014 By admin Leave a Comment

Introduction

Film genre defines a type of aesthetic framework in cinema and in filmmaking set-ups. It is an illustration of the type of technique in a film that both attracts and caters to the audience or group or individual’s desires who serves as a component to a gathered spectator to a particular motion picture even to a Television screen viewing public or person’s varied tastes to a certain movie. Film genres can often turn or may drive a movie goer to become interactive to a certain film that he or she watches.

Film genres can sometimes be said as a “pied piper” in every movies in all angle of consideration. Its fantasies, its pull and its push and its control to the audience’s intellectual capabilities is as powerful than any human mental discernment. Film genre is a spice and a theme to a movie that makes it more likeable, compelling, and unforgettably successful over the years. Sometimes, lure audiences into getting emotionally attached to their flicks of preference, or to a scene or even to an actor portraying a certain role, making audiences feel uncontrollably happy. When the theme of a movie is lighthearted and wholesome, making the movie goers sad and driving them to the extent of shedding their tears when the movie theme is tragic and when the theme revolves on someone’s death, demise, heartbreaks, misfortunes, plights, tragic ends, making audiences feel outraged, reel with the unspeakable rush, tension, terror, rage and awe.

When the movie is about action, horror, fantasy, Sci-fi thrillers, and epic history and the gripping ugly realities of both the real human and nonhuman life, making audiences both the young and the olds delight even on fantasy-oriented animated films.

Film genre is seen as an icing to a “cake” of every motion picture that anchors and grips like an adhesive substance to the movie audience’s emotions and points of view and sentiments and angsts in their very own personal lives. Defining what the category this movie falls into, the bases of the film that is initially categorised is what ‘Film Genre’ is, bringing in interest to the spectators and to keep track of which is the best preferred concept – thriller/horror, rom-com, sci-fi, Action Thriller etc.

History of Film Genre

Film genre dated from the early birth of cinema and continuously evolves itself through the tides of time, catering and meeting the diverse demands of the movie goers in general. The very core and aim and foundation of a movie genre is capturing the  cinema-lover’s fancies, fantasies, and ever-changing tastes on motion pictures that they watches over the years. It clings, feeds, thrives and nourishes on the movie goer’s interests, embrace, reactions, criticisms, applauds and ovations to a certain cinema production.

Embodiments of Film Genre

Film genre embodies in itself the components that moviegoers love and expects in a motion picture. These elements serves as a building block to the films. It helps a motion picture spring and bloom even larger than life. These components, when applied perfectly may lead a certain film to mark in history and most of all in the hearts and minds of the movie-goers. The examples of these components are

·         Lighting

·         Sound Score

·         Film set and location

·         Atmosphere

·         The cinematography

·         Script and storylines

·         The actors

·         Attitude characterization

·         Staffs and crews

These components are the dressing and condiments of a motion picture that enthralls and compels the viewers to gain interest and nimble imaginations responsive to the film show in front of their eyes. A good lighting, sound score, film set, location and atmosphere, cinematography, script narration and line deliveries and attitudes and characterization are the most important to set a mood and theme to make the spectators live inside the film while they sit in their comfortable theatre couches nibbling their fingers chewing nails instead of popcorn and soft drinks leaving behind a signature style in genre.

Cognitive Theory On Films

August 22, 2014 By admin Leave a Comment

Introduction

Cognitive Theory is a presupposition that tackles and is dedicated about the individual’s understanding of things happening around him. It is a theory that zooms in on uncommon series of quintessential circumstances in a person’s life, from the music that he listens to, from the books that he reads, from the subjects he learns in the university, from the daily communications he does with the people he mingles with every single day even from the movies that he watches, from the analytical games that he plays and from the problems he encounters in his life and workplace and on how he reacts and deal with those particular bumps on his roads.

A study of the human intellect and how quickly he can adjust and adapt himself by digesting and engulfing in his brain about the panorama of life that he gets to behold every single day; whether from real life personal experiences or from the diverse entertainments that is registered by viewing television or cinema is Cognitive theory.

This broad understanding of an individual’s mental ability to grasp and solve easily even the hardest of problems that is being thrown at him. It is a theory about how a person can distinguish and point out an image of a wine glass while some may see the image as mere silhouettes of two heads facing each other. It is about a comprehension of a person’s skills in deciphering more than what plainly the eyes can see. Cognitive theory can be said to be a theory that expound on the amazing ability of a person to perceive more than what an image is serving him with. It is likewise a study on how vast and  stunning and vivid a person’s appreciative and imaginative sensory motors can go and drive him beyond the limits of his capabilities.

Theory

The Cognitive Theory aims to exemplify the vitality of human comprehension through the given medium of artistry. Cognitive theory existed in its intent to unravel every person’s cerebral diversions and interests. How he quickly get the bottom of things, how he can easily identify a given object of picture or sound or word or the tastes of a given food or delicacy. How he can deliver and share his very own personal logic and judgements on things. How easily he can recall things and lines from a song or from a book or a certain scene from a recent movie that he was able to watch. How he can easily retain vital specifics to his memory and apply such things effectively through the aid of his bright and vivid memory. Cognitive Theory also explore and analyze and wade through the exceptionally mentally challenged minds of certain individuals who may, despite of his mental impairment, still he may be able to evoke such high level of intellect far more greater than the normal people compared to him in fields such as Sciences and Geometrics. In Cognitive Theory everyone and everything is carefully taken into consideration. Everything is taken into a deepmost and thorough perusal and analysis.

Relevance With Films

Cognitive Theory plays a great claw and impact on the dazzling and stunning and mesmerizing and mystifying domain of cinematic films. Cognitive Theory on Films serves as a graphic and mundane representation of images and character representation and emotions expected to a given scene and theme and characterization to a certain movie. This particular theory provides more depth and essence and framework and eloquent recapitulation and vivid and most often than not, outlandish extemporization and symbolization of the every aspects in a film including the settings of a film, the lighting, the careful and thorough choices of the sound scores, the in-depth choices of the castings and characterizations and the staffs and the crews and even the scriptwriter’s pool, and even how the script be wisely and perfectly deliberated and be metamorphosed, transforming it to be much larger than life itself no matter how impossible transforming the hugely unimaginable to become beyond imaginable in the heart of the people’s core fantasies and imaginations.

The motion pictures academic work is majorly and vehemently impacted with cognitive theory. Concentrating on fundamental appropriations of cognitive educations in association to: perception, sentiments, chronicled account of a story or history, and abilities and powers of an individual to precisely recall every vivid aspects of a film or motion pictures he or she is watching. The connection of chronicles of connective events, human passions, and reminiscences, that being the case, condensed to our assimilation as to what and who we actually are as we link our lives relate to and adhere and conform to every scenes and details offered to us by each and every motion pictures we are watching and contemplating and brooding upon, as based mainly from our personal point of views and first-hand intellectual belief and convictions and perceptions to a particular film and as to how we delve deep our attitudes, characters and emotions into it.

Some of the best referred films that can make a finest collection in the list of Cognitive films can be

Example

Cognitive Theory On Films – Good Will Hunting

Good Will Hunting is a movie released in 1997, written by the protagonist of the movie, Matt Damon, portraying the title role and was directed by Gus Van Sant. This film is about an intellectual kid making a living as a janitor who is steering his absolute existence to borders of his very self-incrimination by a fraction each day while his friends are trying hard everything they can to correct his wayward disposition on his life . In the movie, Will meet Dr. Sean Maguire, played by Robin Williams, a therapist who has completely changed the life of Will for the better by means of rubbing to the very weakest spots of Will making him eventually unlocking himself from his array of insecurities and acknowledging that both him and Dr. Maguire have the same experiences being maltreated kid once in their lives. This movie is about salvaging someone’s potentials he actually deserves.

Auteur Theory

June 9, 2014 By admin 2 Comments

Introduction

Andre Bazin is a renowned and influential French Film Critic and theorist. Bazin believed and favoured films having ‘Montage’ and ‘Realism’. He has been considered as one of the best critics of all time; it is also considered that the founder and author of ‘Cahiers du cinema’ – Andre Bazin paved way for a breakthrough in traditional film making to French New Wave.

Bazin’s articles and comparisons he said that a good film cannot be made with Italian Neo-realism and German Expressionism; he believed that it stands in the way of realism which gives the film a true potential to its audience. His articles like “The Evolution of Language of Cinema”, “What is Cinema” etc created ripples of acceptance and criticism around the world. His views and interest on literature, science, technology, and humanism gave full-fledged movement to the ‘New Wave’ after his demise.

He introduced Auteur theory that said directors are the creators of the film. Making the director’s own style only makes the film unique and creative.

Auteur Theory

It was in 1943, Bazin published in ‘Cahiers du cinema’ literally means Notebook on Cinema that “… Directors are the authors of the film and should create their own signature style and not be totally influenced by the script given.” Even though there are no specific definitions for Auteur Theory it can be said that – the films reflects the personal ideas and styles of the director or director is the author of the work.

Before the theory was introduced, film was considered a work of art and the actors who made the sheets of scripts come to life like the “Audrey Hepburn Film”, “Marx Brothers Film” or a Genre Specific flim like Sci-Fi, Thriller, and Horror Films etc.

The theory believed that a bad director can make good films and a good director can make bad films. Explaining on the view it can be said that the good film can be made only when the director believes himself that he can create greatest piece of work given the script to work as skeletal frame to work on. If the director hid his influence and style with the script overwhelming the ideas of the director then the film has every chance to fail.

Directors and Films that believed Auteur Theory

Alfred Hitchcock, Francois Truffaut, Satyajit Ray, Akira Kurosawa, Jean Renoir were few of the true Auteurs who believed in using their own style of Film Making as a signature and masterpieces. Some of the remarkable movies of the above listed directors are, Psycho, The 400 Blows, Pather Panchali, Rashomon etc always gave out the signature style that audience instantly know who is the director of the movie is. The films made by these directors are used as academic studies that depicted the culture, status of living, economy etc from that time that showed the real society in yesteryears and the influence it had on the directors was very clear.

Criticism of Andrew Sarris on the Theory

The theory was well received and caught attention of many; it is one of the highly criticized theories. Even though it is true directors involvement is necessary, it is also true that a film can’t be made by a director alone. Theory ignores the script criteria. The director simply can’t take all the credit of making a successful film.

The influence of Auteur Theory came to United States only in 1963, when a Film Critic from New York – Andrew Sarris wrote a book called “The American Cinema” that described the perception of major American directors on film making. In his book Andre Sarris agrees that role of the director as an author needs expertise in the fields of technicality, signature style, and influence of personality but a movie simply cannot be made without a team effort from actors, script, camera techniques and every single detail that needs to be appeared on the screen.

Conclusion

Director is the primary force and creator of the film and making film is a unified effort of the team and each and every individual who work in that movie. And lack of information or expertise might collapse the movie let it be the directional, script, production, costume, make up etc. this collective efforts is what makes a remarkable movie and the Director is the one who brings the characters to life and burden taken by the director is very huge in the current day when people now recognize the films that release as a “Steven Spielberg movie”, “Howard Hawks film” or a “Pixar Films”

Example

Auteur Theory – City of God

Filmed and released in Brazil and directed by Fernando Meirelles and Katia Lund on 2002, released internationally the following year, the “City of God” was a motion picture produced with a Brazilian crime drama genre. The framework of the movie plot was liberally rooted from factual incidents and mirrors the propagation of orchestrated delinquency in the commuter belt of Rio de Janeiro called Cidade de Deus during the final swing of 1960’s and latter period of the 1980’s. The conclusion in the movie illustrates the bloodshed fight in the midst of a substance peddler Li’l Ze and a felon named Knockout Ned. The main actors of this movie are Alexandre Rodrigues, Leandro Firmino da Hora, Jonathan Haagensen, Douglas Silva, Alice Braga, Seu Jorge and the inhabitants of the hovels like Vidigal and Cidade de Deus. This movie, was given critical accolade globally when it has garnered four Oscar Awards nomination on 2004.

Avant-Garde

June 7, 2014 By admin Leave a Comment

Introduction

Avant-garde is a term used in the military literally means foreguard. This term was used to typify various aesthetic groups that arose immediately before and after the First World War. The Avant-garde movement that arose after the war showed the horrors of the war.

Evolution of Avant-garde in Cinema

Avant-garde is a movement that seeks to break the tradition and politicise the issues. It was in 1920 when a small group of theorists first used avant-garde. French theorists like Louis Delluc, Germaine Dulac, Jean Epstein sought to create avant-garde cinema. The members pointed out that the theoretical approach to cinema addressed the issues like realist versus naturalist films, spectator-screen relationship, editing styles, subjectivity, and psychoanalytical potential of a film, auteur cinema and the semiotics of the film. With this they turned to making film with experimentation as its central part.

Experimentation film

Avant-garde which is also called as experimental film works in 3 overlapping levels

·         Genres

·         Possibilities of film language

·         Redefining subjectivity along with its representation

Experimenting with these levels; the avant-garde filmmakers attacked the understanding of the narrative, omniscience that also raised the questions about the subjectivity and its representation. The outcome was achieved after disrupting space and time that focused on discontinuity, fast editing disoriented shots.

Groups and movements made during Avant-garde era

·         Futurism, 1919

·         Dadaism, 1916

·         Constructivism, 1920

·         Surrealism, 1924

Stages of Avant-garde

1.    Subjective Cinema

2.    Pure Cinema

3.    Surrealist Cinema

1. Subjective Cinema

The major influences were from the work of modernist painter in the early part of the avant-garde movements.

2. Pure Cinema

The influence from Sergei Eisenstein’s montage theory and Bertolt Brecht’s theory of distanciation. The films exhibit the structures and materiality which draws attention to the artifice of the cinema. In pure cinema the spectator doesn’t evidence the narrative structure of the films. This type reflects the revolutionary role of the avant-garde.

3. Surrealist Cinema

This type denaturalizes the dominant cinematic language bringing the theory of the counter cinema into practice. This stage is a collision between the first two stages of avant-garde bringing the irrational dreams and fantasies that are normally repressed.

Avant-garde Films that lived through the time

1.    Manhattan – Charles Sheeler – 1921

2.    Ballet Mecanique – Fernand Léger, Dudley Murphy – 1924

3.    Ghosts Before Breakfast – Hans Richter – 1928

4.    Un Chien Andalou – Luis Bunuel – 1929

5.    Meshes of the Afternoon –  Alexandr Hackenschmied, Maya Deren – 1943

6.    Dog Star Man – Stan Brakhage – 1961-1964

7.    Scorpio Rising – Kenneth Anger – 1963

8.    Julien Donkey Boy – Harmony Korine – 1999

9.    The Heart of the World – Guy Maddin – 2000

10.   Inland Empire – David Lynch – 2006

Example

Avant-garde – The Heart of the World

Written and directed by a prominent director Guy Maddin, “The Heart of the World” was created for the Toronto International Film Festival in year 2000. Fellow moviemakers Atom Egoyan and David Cronenberg, agreed upon filming four-minute short-lived flicks which may be used to show first before a number of highlighted movies of the film fest. When gossips about his colleague’s ideas, Maddin manifested for this film to have 100 shots a minute to a staggering speed and a plot to sufficiently serve as a full-length movie. This hushed avant garde motion picture which was released in Canada in 2000 runs only for 6 minutes and stars Leslie Bais as Anna, Caelum Vatnsdal as Osip, Shaun Balbar as Nikolai and Greg Klymkiw as Akmatov. Osip and Nikolai are brothers fighting for the affection of a scientist named Ana who suspects that the planet is edging to self annihilation. Nikolai being an undertaker attempted to excite her by his embalming antiques. On the other hand, Osip being an actor ventured on captivating her by means of his tolerance in painstaking portrayals on his play, however Ana was beguiled by a wicked investor, but changed her mind, throttled the magnate, slinked down the planet and rescued the globe from eradication.

French New Wave

June 16, 2014 By admin Leave a Comment

Introduction

French New Wave otherwise called as Nouvelle Vague is a film movement in France began in late 1950s. The wave was started by the critics in association with Cahiers de Cinema who later became filmmakers. Thought Nouvelle Vague is not a movement, it was visible that they challenged the ‘quality’ of French Cinema setting a postwar trend within the French film culture and film making.

Evolution to the End of French New Wave

French New Wave appealed the spectators which is also meant that the producers in the late 1950s wanted to work with the younger directors and artists. The demand of the new wave started with a generation gap between directors of 1930-50 who were aging and the new wave directors that associated in films that portrayed in peoples mind.

The first film of New Wave that hit the screen was made by an influential group of critics from Cahiers du Cinema’s

·         Claude Chabral

·         Jean-Luc Godard

·         Jacques Rivette

·         Eric Rohmer

·         Francois Truffaut

Their cinema came from the film makers who did not go through any normal procedure of being assistant to directors.

French new wave was already making films that was believed as a counter to the dominant cinema of 1950s. The new wave filmmakers believed and advocated auteur and mise-en-scene. The common practices and characteristics of nouvelle vague films are

·         Low Budget

·         Location shot films

·         Free style editing

·         loosely constructed narrations

·         spontaneity

·         Non politicized cinema

It is also believed that the nouvelle vague appeared twice in the history of cinema. In which, first new wave occurred in between 1958-62 while the latter happened during 1966-68 and both the movement gave an impact in the world of future cinema.

French New Wave From 1958-62

The French wave during the late 1950s focused only on auteur and mise-en-scene. The visual and the narrative side of the cinematic codes marked a complete rupture. In the narrative side of film were not necessarily realistic story that had no beginning, middle or end but the film was slice of life genre. The films of 1950, had no stars, women were portrayed as the central narrative, which showed the fall of the taboo on sexuality. The visual side during this era of new wave gave way to spontaneity in the cinema. Thanks to the technology editing styles improved where fast paced editing was achieved by jump cuts, lightweight cameras technically equipped studios etc.

French New Wave From 1964-68

Even though the ideology was not lost the second wave made the films more politicized. This movement was also a counter Hollywood cinema that addressed the personal and political tensions which the younger generation on 1960 experienced.

Both the new wave gained popularity and secured a social sphere for the youth class of the men and women. The French new wave left behind a new legacy. Even though in the end it was new wave cinema focused only on self centered individual styles, emphasis on the auteur is one of the important part in the film history that played a huge role in the world cinema.

Example

French New Wave –  The 400 Blows

Considered as one of the most touching movies with intense storyline, of a boy growing in Paris, directed by Francois Truffaut. A first film of French New Wave “400 Blows” has an unique feel and the simplicity that makes the film most memorable. As a film that goes around telling the story of the young teenage boy who lives with mother and stepfather who don’t attach themselves to him and getting judged by the complaints received as troublemaker adding to the burden of growing poverty, the boy is very badly misjudged by his surroundings that leaves him adrift from his parents finally ending up in prison with prostitutes and thieves. This film has many fun moments that blends along with the tragedy, as a critically acclaimed film Francois Truffaut can be called as the best modern directors by drawing a line between classic films and modern films that gave more stronger impact of What New Wave cinema is.

German Expressionism

June 9, 2014 By admin Leave a Comment

Introduction

German Expressionism is a part of modernist movement initially started with poetry and painting in Germany. It was the movement where people sought to express what felt or saw during the First World War. German expressionism mainly spread around Germany and Northern European states. The Expressionist movement today is considered as one of the artistic movement.

Start of German Expressionism in Films

It is said that in the history of films, German expressionism filmed the reality of daily life. The films and the art of the expressionist period represented the gruesome truth that the people of Germany dealt with. The period of expressionism is also called Weimar period in the film history that captured the emotions and sufferings of the broken nation and its people.

As an extension of Avant-Garde movement, German expressionism started with the influence in art and painting where the “expression” was used as a style to narrate their society.

Style of German Expressionism

Germany as a nation crumbled in the World War, the economy and the livelihood of the people came to great suffering. The films from other countries where banned in 1916 and this led to German Expressionism. The films made were surreal, distorted with heavy shadows to make the story look gloomy and depressing. The movement expressed the depression in the people’s minds caused by the war.

Dominant characteristics of Expressionism

1.    Expressionism used mise-en-scene and heavy atmosphere

2.    Long shadow effects

3.    Artificial sets with realistic details

4.    The details in the sets bring forth the emotional, that stirs audience mind

5.    Camera set in unexpected angles gives audience a different perception

6.    Aims in evoking mystery, hallucinations and extreme emotional stress

7.    Slow pace than other regular movies

End of German Expressionism

German expressionism came to an end in 1923 with political barriers and forced ban, it was named that expressionism was degenerated art for film making in Germany. However the German expressionists moved to Hollywood where expressionism continued with the influence of Hollywood glamour and culture. It is considered that the main reason for the fade away of Expressionism was the gradual disinterest in the topic.

Renowned Directors and Movies from Expressionism Era

The first film that came as an experiment of expressionism was Paul Wegener’s “Student of Prague” a silent thriller, the plot revolves around a poor student rescues a beautiful countess and soon becomes obsessed with her. A sorcerer makes a deal with the young man to give him fabulous wealth and anything he wants, if he will sign his name to a contract (i.e. make a Deal with the Devil). The student hurriedly signs the contract, but doesn’t know what he’s in for.

Robert Wiene’s “The Cabinet of Dr. Caligari” is also considered as one of the landmark movie in the German Expressionism which was considered as the prime example of expressionism films.

Ernst Lubitsch’s “Die Bergkatze”, Fritz Lang’s “Dr. Mabuse the Gambler”, Fritz Lang’s “Destiny”, Fritz Lang’s “Metropolis” are some of the critically acclaimed films of the German Expressionist era.

Example

German Expressionism – The Cabinet Of Dr. Caligari

Directed by Robert Wiene as established from a movie script by Hans Janowitz and Carl Mayer, this German expressionist horror motion picture was released on February 26, 1920 in Germany and dubbed, as a powerful cinematic motion picture of the German Expressionist faction, so compelling even an American critic, Robert Ebert, noted it as the primal bona fide horror movie. Also this is the film that launched the “spin around”  movie finale method, starring Friedrich Feher as Francis, Lil Dagover as Jane, Hans Heinrich Von Twardowski as Alan, Werner Krauss as Dr. Caligari and Conrad Veidt as Cesare. The plot circles on Francis, who was enamored by Jane, calling her his “fiance”. He and his friend Alan met with Dr. Caligari and Cesare to whom the doctor puts down to sleep in a cabinet appearing like a coffin by means of hypnotic approach. Alan died and Francis and Jane probed on Caligare and Cesare. Jane’s life fell in danger and Francis was appalled by the further terrifying revelations concerning the identity of the doctor as he continued his inquisition. So thus, the ending twist of the movie is even more jaw-dropping as it is.

Italian Neo-Realism

June 7, 2014 By admin Leave a Comment

Introduction

Italian neo-realism is a new realism that focused on the common problems and not with revolution or any political based films and was started in 1942 and came to an end in 1951. The films were often made in common place with unprofessional actors in low budgets that gave the realist effect. This movement focused on the changing styles and the perception of the common after World War II.

In few films the main characters were taken by trained actors and supported by the non-actors that gave “realism” an artistic beauty and the power.

Start and the end of Italian Neo-Realism

With American films taking over the interest of the audience in the Italy and other European nations as the Hollywood films portrayed America as paradise. Federic Fellini, Italian director and scriptwriter described the influence of Hollywood as, “…They (America) really showed a paradise on earth, a paradise in a country they called America.”

The import of more American movie and strict restrictions of Italian directors by the Fascist Government, during 1925 the directors started going to the streets where they filmed the plight of refugees in the camp with sets & props and used the readymade props that came from the World War II and the unprofessional actors who were casted on the film brought forward the Italian cinema to the world platform.

Like others, Italian neo-realism too started to fall and was one short lived movement.  Thought Italian neo-realism was looked forward by the world. The people in Italy preferred Hollywood touch in Italian movies or the Hollywood movies itself after the post war. The change of taste over a period of few years among the home audience made the realist directors in an uneasy situation. With this the directors and the intellectuals who supported the neo-realism had no option than change the perspective of their films while some moved to Hollywood to make neo-realist American films.

Characteristics of the Neo-Realsim

·         Noticeable long take style

·         Poor neighborhood and readymade location

·         The film that showed the situation of the common in the refugee camps to the fascist governance and the disaster brought in by the war

·         The realism was blend with the Marxist humanism that brought forward those raw emotions of both the artists and its audience

·         Films avoided editing and lighting of the location

·         The dialogue of the film focused on conversational script and not the scripted dialogue

·         Since this movement was also an opposition to Hollywood and its Happy ending films, realist directors made it as a point not to make films with happy ending

·         Till day neo-realism films are considered as documentary styled films

New Realist films still remembered

Through the evolution of Italian and the changing preference of audience Italian neo-realism left a legacy behind with ever remembered films to the world to watch, analyze and critic on it.

Best Films from Realism Era

1. Bicycle Thief, 1949

2. Riso Amaro, 1949

3. Bellissima, 1951

4. Miracle in Milan, 1951

5. The flowers of St. Francis, 1950

6. War Trilogy

1.    Rome Open City, 1945

2.    Paican, 1946

3.    Germany Year Zero, 1948

Best directors of Italian Neo-realism

1.Vittorio Di SIca

2.Federico Fellini

3.Robert Rossellini

4.Luchino Visconti

are some of the famous directors whose movies have continued to live through time making the realist movement a landmark in the history of film and film making, that not only had impact of Italy and European nations but also worldwide that opposed Hollywood cinema and giving way to humanism.

Example 

Italian Neo-realism – The Bicycle Thief

The Bicycle Thief is a movie spinning around Antonio Ricci who aims to land himself a job in order to support his wife, and son. In the movie, Ricci was seen probing in the streets of Rome in his aim to find his bicycle that was stolen from him. Why the bicycle was this much important for this man? Because without it, he may possibly lose a chance at a job that necessitates a bicycle as a poster hanger.  This movie may be a homespun film but it was acknowledged with a ceremonial Academy Award in 1949 being amongst those formidable underpinning boulders of Italian Neo-realism movies. This motion picture was directed by Vittorio De Sica, starring Lamberto Maggiorani as Antonio Ricci, Lianella Carell as Ricci’s wife, Enzo Staiola as Ricci’s son, Vittorio Antonucci as the bicycle thief, etc. It was on November 24, 1948 that this finest motion picture was released in Italy.

POV or Point of View

May 12, 2015 By admin Leave a Comment

Introduction

The POV or point of view is commonly marked as the sequence in a film wherein the cinematic shot is driven from the very personal impression and outlook of the actors within the film. The film detail is utilized by approaches that is comprised a precipitating opinion and various editing practices. In P.O.V. films, a scene is subjected to successions of formulations and configurations in which the point of the cinematic camera apparatus should meet and be equal to the very direct and exact line of sight of the moviegoers. POV in films defines how a character take-in something that his or her eyes are beholding.

Origin

During the 1920s, the strategy of P.O.V. in films began to be exercised by the filmmakers. It was most especially, on the film entitled Napoleon where the filmmaker bring into play the succession of events that displays how the youthful Napoleon is being  discerned while in the middle of a brawl  against the boys who are much older than him. In fulfilling this particular POV impression, sponge padding was made to envelop the camera in order for the dramatis personae to hit the camera with their fists.  In POV film, in short, the cinematic camera also becomes a character and assumes the roles of the actors themselves.

Exposure to Cinema & Movement

A Point Of View shot may not just necessarily be distinguished an authoritarian outlook of film viewers. Even if the camera apparatus takes a shot over the shoulder of the subject, the shoulder can still be seen. The dramatis personae who portray a character define the point of view of the movie goers. At the same time, the cinematic camera apparatus that meets the eye of the film actor in a scene likewise, becomes the point of view of the actor.

Many film institutions have broadened the application of POV has become effective in their tactical ventures on their cinematic masterpieces. The most notable example to a POV Film is the 1927 film entitled “Napoleon” by Abel Gance. In the film Napoleon was illustrated as a youngster who was engaging with a fight against a number of men who bullies him.

In the film, Napoleon, serves in the army, however, because of enviousness, he got imprisoned and was eventually released. This film was noted for the flowing movements of the camera. The specifications of POV film is manifested with the manner of how the filmmaker wielded and included the vital participation of the camera in every scenes of this film. The means of transforming the camera as if it is a character in a film, defines the essence of the point of view, between the camera, the actors and the film viewers themselves.

Concept

The thrilling scene successions in a film such as car chases, airplane somersaults, and some other exhausting confrontation that can relate to the viewers, are also considered as the prospect for the P.O.V. films. In the ventures of POV film production, the filmmakers creates many camera mounting and positioning in order to achieve the type of shot that they need in meeting with what the POV shot demands them to create and do. To complete the process, a supplemental dialogue and storyline is also added to define exactly the capture of the audience being an aspect of a POV slide. The camera sequencing, sound score and the actor depiction of the character should also be comprised into the P.O.V. filming as a whole.

Conclusion

The application of POV in many of his narratives are also being observed and practiced in a wide range of coverage. In terms of the masterly measures of the P.O.V. approach, the apparatus and the resources are more advanced and demands an in-depth orientation and reinforcements. The manifestations, nonetheless, also suffers a few setbacks. The industry oftentimes are faced with matters of accessibilities that are mostly unmanageable.

Surrealist Cinema

November 2, 2014 By admin Leave a Comment

Introduction

The Surrealist technique in cinema is a contemporary approximation on a motion picture cinema presupposition, assessment and fabrication rooting itself from the era of the 1920s in Paris. It is typified by the positioning of two things nearest from the other and reflects a conflicting impact. Further attributes of a Surrealism craftsmanship are dismissal of substantial mindset and the recurrent utilization terrible cinematic graphics illustrative images. Faithful to its grounds, cinematic Surrealist method is advocated Salvador Dali as reflected in his movie masterpiece. The factual specialized operation of movie fabrications giving a portion of association to Surrealist venture stripping down the nature of truth, making it appear in scores of propelled images, stirring those graphics in one single whirlpool of stunning surreal fantasy episodes with an even more intense display of fabricated “reality” to encapsulate the interests and fantasies of the fanatic heap of movie patrons and enthusiasts.

Beginning & Evolution

The most primal poetic and expressive cinematic faction is Surrealist Cinema earnestly related to movie theaters despite the fact that it has likewise been magnanimously disregarded by a few numbers of movie analysts and film experts. The infrastructure of this artistry equate at the emergence of cinematic films. Those who sprang from the cradle, who mount up with notions of cinema being a component of everyday life, are the first generation of Surrealist enthusiasts who engaged in the handiwork. Surrealist in cinema possess an appalling force to lure, twist and per flex the human mindset which make it even more inevitably appealing. The Surrealist Cinema’s potential to arouse and to buoy up some discernment of enigma and excitement to the movie watchers is what urge the Surrealist advocates to significantly embrace this technique in an extravagantly staggering passion of vehemence.

Surrealist Styles

Surrealist Cinema proponents perceive cinematic artistry channel that invalidates the frontiers of verisimilitude. The surrealist designers are fascinated in films being such an insurmountable vehicle of articulation. Developing an even more lucrative chance of depicting satyrs as a logical structure as it unremittingly broadens its scope in the movie business, cinema caters an even more compelling mirage than its counterparts. The indications of the surrealist advocates’ convictions of cinema inclinations to the objectives and stipulations of Surrealism, is the vivid and the zealous example of the Surrealist’s penchant of manifesting themselves with motion picture cinemas, taking earnest into consideration the uniformity of the movie’s make-believe photographic illuminations, slumber trance and the dormant mental psyche, manifesting them into a sphere of kaleidoscope bubble globe for cinematic purposes of birthing an extravagant mushroom of psychological entertainment in its finest simulations of interweaving preoccupied slumber claw dreams. Reformatting the mortal mental consciousness concerning the facts describing reality as a boundless topic greater than what humanity applies, is what Surrealist moviemakers aims in their quest of seducing the moviegoers by their lavish applications of Surrealism in their films with their logics and mechanisms and formulations which are both appealing and irresistible not to take notice of. Surrealist cinema style is a vessel where fragments of illusion is overly magnified and hugely sensationalized than the value of the very fibers of what the real truth of the matter is.

Prominent Surrealist Directors

The most notorious and the most well-known Surrealist directors in the magnificent realm of Surrealist cinema who lives up and upholds and carry the flagship of Surrealism in their movie craftsmanship and masterpieces throughout the passage of time are

·         Salvador Dali

·         Mack Sennett

·         Buster Keaton

·         Charlie Chaplin

·         Luis Buñuel

Salvador Dali is a dexterous artists who specializes on detailed practical draftings highly cited for his conspicuously eccentric imageries as depicted in his surrealistic works. His sweeping imaginative range embraces to the lengths and coverage of cinema, effigies, and down to the world of photography while teaming up with a latitude of artists from all walks of mass communications most particularly working with Luis Buñuel, a renowned film director Spanish moviemaker keenly affiliated with Surrealist crusade during the age of the 1920’s.

Mack Sennett is a movie director and also an impressive actor famous as an artist who ushers and inaugurates current and state of the art slapstick satyres in cinematic motion picture movies and dubbed as a King of Comedy in the height of his career.

Joseph Frank “Buster” Keaton famously an American actor, a satirical movie maker, a stuntman, and film wordsmith all rolled into one and especially noted for his silent movies with which he made an attribute on somatic comedy by means of steadfast depiction of scenes of people enduring pain and hardships with blank empty facial languages. With “Buster Keaton” being his established stage name, he was dubbed as “The Great Stone Face” on the hype of his career and was also acclaimed as the seventh greatest movie director of all time.

Voyeurism

June 6, 2015 By admin Leave a Comment

Introduction

Voyeurism is a term that specifies a conduct of someone who is engrossed in prying on the personal affairs and lifestyles of other individuals. Most specifically it denotes a demeanor of lasciviousness as they secretly look at the people who are naked while they are in the act of sexual practices. That is, on the other hand, not just the only factors that define the meaning of voyeurism. Film viewing can also be called as a voyeurism where the spectator takes physical pleasures while watching heated scenes that are demonstrated in the film.

Origin

The prevalence of Tiny Spy  cameras during the era of 1880s, made the activities of the voyeurs has become even more rampant. The evolution of these miniature spies, however, pays tribute to the year of the 1950s. Presently, the cameras are already built-in the frameworks of mobile phones and are being used in the acts of excessively vicious hunting particularly on the celebrities.

Exposure To Cinema & Movement

A number of cinematic films also take voyeurism as an abstraction for their films. In the 1954 film ‘Rear Window ’ by Alfred Hitchcock he described voyeurism in the depiction of the lead actor named Jefferies who spends his life surveying the neighbors using binoculars, while he is in a chair because of his broken leg. The director, Alfred Hitchcock heavily concentrated on the aspect that voyeurism is globally performed by people who extract an addictive gratification out of it. The “Rear Window ” was hailed by the film audiences, film enthusiasts, and film experts as one of Alfred Hitchcock’s prominently celebrated films. Furthermore, in this film, it has approached and considered voyeurism as a reasonable yearning more than as an immoral addiction obsession.

Concept

The people who are engaged in voyeurism are called voyeurs. These personalities utilize a number of certain procedures to avoid getting caught on the act. They try to observe their targets from afar. They secretly take picture of their prospects, spying on them on peep holes, invisible camera apparatus, or through the two-way mirrors, and optical instruments like the binoculars, for instance.

Conclusion

Another example of voyeurism in films is the cinematic film on 1974 entitled ‘The Conversation ’ by Francis Ford Coppola. Voyeurism is indicated not by visual aspect but through the sound. In this film, the film spectators are being pulled to engage in voyeurism along with the lead character. The voyeurism that was subjected in this film however it is taken-in as a faulty instrument. Generally because it is only manifested as a one-sided act of collecting the facts about the other person with may only trigger false discernment about the people in question. The good feature of this film nonetheless, was when the lead character finally realized that voyeurism is unethical and that he should not spy on people because it is a bad thing to do.

Suspense Film

June 9, 2015 By admin Leave a Comment

Introduction

A Suspense film is the subordinate category of horror genre known as the thriller films. The explanation why the suspense films are prominently noted and are sought after by its followers is the fact that it provides the moviegoers a certain sense of gripping assumptions as to what will happen in the succeeding segments throughout the duration of the film. The notion about the spectators falling for the lead character illustrates how the film viewers agitate on what will be the ending of the character and the story itself. A Suspense film makes the movie enthusiasts over think even if the film has already ended.

Origin

The suspense films have already existed even way back in the 1900’s. This genre has also helped the popular Suspense filmmakers to attain the crowning point of their professions in creating cinematic masterpieces in the suspense classification. The elements of these films comprises of crime investigations, abduction cases, and any anxiety-driven occurrences that stimulates the fascination and curiosity and feeds the fancy of the film viewers. The eerie situation in a suspense film that is represented by a very restful panorama indicates a foreboding onslaught of a very horrible proceeding.

Exposure To Cinema & Movement

Suspense films open a portal to the audience and give them a chance to plunge and take a closer look into the world of deception, misconduct, deviousness and pretense. In Suspense films there are also some cases that the entire story plot and the characterization of the lead actor and his nemesis are being reversed and interchanged, vice-versa. These films challenge the mental capacity of the audiences and throwing their imaginations into a mind-blowing game of endless guesses.

Suspense films ensure that each and every dramatis persona can likely be a perpetrator in the end. The best examples of the Suspense Films are the 1954 film “Rear Window ” by Alfred Hitchcock, the 1960 film “Psycho ” also by Alfred Hitchcock, the 2007 film “The Mist ” by Frank Darabont, the 2007 film “The Orphanage ” by Juan Antonio Bayona, and the 2013 film “The Conjuring ” by James Wan.

In the film Psycho, the filmmaker Alfred Hitchcock, created and illustrated the characteristics of a suspense film in his movie “Psycho ”. This film tells about a dreadful encounter of a clerk who stole money from her boss who was actually a mentally dysfunctional person. This film earned an excellent box office success and was given an enormous amount of praises from both the film critics and the public spectators on its initial release in the theaters on June 16, 1960. This film were portrayed by Janet Leigh as the secretary and Anthony Perkins who acted as the mentally challenged boss, named as Norman Bates.

Concept

The essential aspects in a suspense film are the film viewer’s emotions, worries, forthcoming adrenaline rush and spiraling menace. The aim of the suspense filmmakers is to make the film audience to think whether or not the lead character be successful in his target endeavor. In that manner, the spectators will have a realization on what will be waiting in store for the suspense film characters. It is one of the methods of the filmmakers of making the film viewers deeply engrossed with the film.

Conclusion

The filmmaker does not want to give any room for his film to stray off-track that is why the filmmakers keeps on infusing entwining twists to its already impregnable twists on the plot. This is for the intention of keeping the interests of the audience to reach the very own climax of their mental capacity of discerning what they are watching on the screen. In the discourse of the Suspense films, there is one filmmaker who always comes to mind. Alfred Hitchcock has been a notoriously prevalent name in the realm of the suspense films. His masterpiece has depicted suspense films with undertones of his specialized ammunition typified as amusement and mental and emotional strain. He was able to hit a flawless string of monumental suspense films the moment he touched it with a collaboration of comic reliefs and anxiety attributes which have easily become well-loved by film spectators from all age brackets.

Soviet Montage Theory

June 7, 2014 By admin Leave a Comment

Introduction

Soviet Cinema came to being from its painful post war experience. With a strict control by the Government on film making and import of films it was in 1924, Sergei Eisenstein and Lev Kuleshov with other major directors like Diziga Vertov formed a group called “Association of Revolutionary Cinema” (ARC) which eventually broke up but with the aftermath of the revolution, it brought forward a style called Montage that made the world pay attention to their cinema.

Evolution of Soviet Montage

The war and the restriction brought a change in the Soviet Cinematic style. The primary principle of the montage style was invented by Lev Kuleshov in 1918 is bringing the shots that do not have any relation but makes a connection by what comes before and after the shot. This effect is called as “Kuleshov Effect” which was the initial stage of evolution of montage.

This effect can be better explained with an example from Kuleshov experiment where he juxtaposes shots from several films and edit it into a sequence that narrates its own story.

Montage

Eisenstein who was also making his own experiments exceeded “Kuleshov Effect” giving out montage which is also called “Soviet Montage”. ‘Montage’ means bringing the conflicting images/shots together that gives a unique contrast leaving a shock and anticipation for the audience. Eisenstein believed that more the conflicting the shots are the more it is intellectual leaving its audience in shock which also stirs their inner emotions.

Categories of Montage

Sergei Eisenstein categorized montage into five different types

Metric Montage

It is a simple montage style where the long scenes are shortened to a length called as ‘absolute length’ of the shots without affecting the essence of the original story or its emotion. This type of montage is used to create a suspense and tension which is usually fast paced and has abrupt cuts that doesn’t have continuity but makes sense of the complete length of the shot.

Rhythmic Montage

In contrast to metric montage, this style of montage focuses on the rhythm of the action taken place which is equal to the actual length of the shot. This type eliminates the abruptness and the unexpected jump from one shot to other. The best example of rhythmic montage is “Odessa steps” from Sergei Eisenstein’s “Battleship Potemkin”, a Russian classic. The relationship made with soldiers marching down the steps towards the protesters. Each step taken forward shows the emotions of the group of protestors who are trying to flee from the soldiers pouring bullets.

Tonal Montage

Tonal Montage concentrates on the emotion of characters that is sequenced with other shots. For example if the heroine of the film commits suicide after a huge emotional imbalance it is shown with drifting piece of cloth in the air that reaches the hero while he tries to reach. The drifting piece of the cloth conveys the message of the fallen heroine. Such type of scenes brings in emotional quality to film.

Overtonal Montage

The simultaneous use of all the three above montages in a combination forms the overtonal montage creating conflict between the shots.

Intellectual Montage

Intellectual montage involves the use of all the four montage styles that arises not only conflicts between the shot but also arises a complex emotion to the audience that will make the audience the plight of the characters on the screen. This style of complex editing can be seen in Sergei Eisenstein’s film Strike, 1925.

Major Directors

There are four primary directors who used soviet montage in their cinema

1.    Sergei Eisenstein

2.    Lev Kuleshov

3.    Dziga Vertov

4.    Vsevolod Pudovkin

Classic Movies of the Time

1.    Strike, 1925

2.    Battleship Potemkin, 1925

3.    The end of St. Petersburg, 1927

4.    October, 1928

5.    Citizen Kane, 1941

6.    Casablanca, 1942

Example

Soviet Montage Theory – Battleship Potemkin

A silent film directed by Sergei Eisenstein in 1925 that depicts the rebellion that occurred in 1905. The most famous scene like Odessa Steps had the power to pull the audience into the mutiny that the film was banned in most countries even Soviet Union, and today even though it seen as an art of brilliance. The revolutionary propaganda that portrayed the outrage of the public with limited dialogues wouldn’t have had the effect if not for the juxtapositions and the momentum that during the breath taking sequences that formed a story in its own style. As a film of all times Battleship Potemkin, the film’s focus on the bloodshed and the victim plight and the social situation of the Soviet Union brings the primary focus. Battleship Potemkin is a milestone in the history of film studies.

Pure Cinema

October 26, 2014 By admin Leave a Comment

Introduction

Cinema Pure is a means of cinematic variation that upholds and promotes the standings, notions of cinematic embellishments which cradles the orbits considering the virtuous ‘first principles’. The principles are the aspects of mundane actions, graphic ocular framework with the inclusion of upbeat cadence; these three are vital attributes as the pure cinema’s main focal point of concentration and consideration.

Aiming and executing the objective of reducing the scenes and storyline illustrations. It means to focus on zoom-in the cinematic camera apparatus to the subject matter, warping the imagery of the scenes, modifying the image outputs and taking advantage of every possible visual and apparatus effects that is available. These are the basic requirements for the directors of pure cinema where fabrications, manifestations and stipulations of various cameras effects are shown like slow-motion or illusion shots.

Theory

Outlining a structure or marginalizing cinematic artistry is the epitomizing the creative writing into imitative and expositional designs. Pure Cinema is a channel where delivering a cinematic narrative by the pure means of camera manifestations and other articulation of the mode of filmmaking is vehemently crusaded where the craftsmanship is far more dominant and very important.

Making a cinema while taking the lead in maneuvering the spectator’s emotions, expectations, their personal desires etc to help them be entertained, challenged by its commanding abilities to interact and to arouse their interests. Following this compelling effect leads to the camera tricks and whims at swaying the beholders to where it want to sweep them into.

Components of Pure Cinema

Satisfactory to its name, cinema pure is an embodiment cinematic filmmaking that involves the consolidated advantage of the modern-day cinematic camera apparatus and computer which manually generates special effects that is associated with motion picture camera. In addition to special effects the appropriate sound scores, its proper infusion and utilization of both suitable the film is sprinkled with the most outlandish manipulation of lighting effects.

Even without focusing on the cinematic narration and the plot contents, the skillful maneuvering of the camera itself in every angles the movie director wills it to be, is more than powerful enough to make a pure cinema motion picture become as compelling enough as it is can get. This is the simple explanation of what ‘Pure Cinema’ is: a realm of cinematic industry orchestrated and taken over by the benefits of a cinematic camera and its varied conventional advantages. Recognizing and adopting pure cinema has been a widespread practice by its advocates and those who endorse the flagship banner of this particular cinematic field.

Examples of Pure Cinema

The definition of Pure Cinema is minimizing the common complexities often seen present in almost every film genres. While in some other films, that pulls and thrives on manifestations of all cinematic embellishments such as colossal elaboration of scores of techniques, approaches, apparatus in order to gain market value, audience appreciation and adherents such as great storyline, compelling plots, awesome narratives, poignant screenplays, gripping sound score, memorable settings, striking application of lightings and the ever-present CGI effects etc. Pure Cinema however, may tend to discount some of those that may only be made use of just as an availment; it is one of the benefits of the camera along with its array of special effects that is able to create a cinematic film. A film that is as thrilling, awesome, as effectual and successful in absorbing compared to normal fully-equipped cinematic films is how pure cinema is.

A fitting example of Pure Cinema standards is a movie called Ladri di Biciclette(The Bicycle Thieves), 1948 directed by Vittorio De Sica acts as reality and not as cinema. With a varying degree of cinematic dialectic is considered as spectacle of events. It is a films with no actors, no sets, and always considered as a perfect aspect of aesthetic film that makes the characters not look like character but as a part of the regular society.

Subjective Cinema

October 19, 2014 By admin Leave a Comment

Introduction

The general meaning of ‘Subjective’ is to express the personal taste or opinion. In film the subjectivism portrays what the character wants the audience to see. Otherwise called as Point of View, makes audience, camera, and character to see the same thing that describes and narrates from one single person’s POV that can clearly depict the nature and the state of the narrator.

Subjective Cinema / Camera an Introduction

Purpose & Process

The purpose of filmmakers in creating Subjective Cinema is not only to entertain and meet revenues from it but also to meet the demands of the film viewing public thus making a certain film to become a subject that pleases and satisfies the whims of a particular film enthusiast or a group of film spectators as such.

It can be taken as a “give and take” process between the film medium and the film watchers themselves, both individually and as a group as it serves and gets served in full as a whole perspective of it, a powerful recreation channel that involves a vital linkage and elemental connection between the actors who are both portraying given a key character. The situational panorama of the scenes, the setting, the demeanor of the attitudes, temperamental modes delivered and put into to acting & respective actions from the subject’s point of view connect the spectators which helps them grasp and connect; often relating way too easily at certain situations and focal considerations between the actors along with the added special facets of compelling CGI and sound scoring in every film genre avenues.

To show the precise effect the film camera acts as an impregnable bridge between the relationship of the film actors and the film audiences as pre-designed and conceived by the filmmakers, screenwriters and its film producers who are core brain and backbone of every framework of a cinema.

Subjective cinema is self-centered on the effectiveness, importance and certainty of what and how the subject in the film offers to illustrate, what meets the eyes of those who keenly beholds in the course of film-viewing, even way deeper from what the film message actually aims to serve. The complexity of film narration and the manifestation along with the prevalence of musical scores that ushers the general ideas and impressions conveyed in cinematic narrations. It naturally stipulates the common affair between the cinematic film and its wide-ranging array of its innumerable variety. In such situation as this, both the film and its audiences are taken in by the subject appearing on the screen and perceive what the subject perceives, in turn audience react according to what they as if they are physically present in the scene.

This kind of subjective camera gives the spectators a chance to stand on the subjects shoes and grasp the tension giving them the ultimate satisfaction of the emotions they feel showing the terror or the unspoken happiness that can be understood only when it is personally felt, such is the purpose of ‘Subjective Cinema’.

Characteristics of Subjective Cinema

In Subjective Cinema, there are methods that uphold its realms such as Point Of View, otherwise dubbed as POV or most precisely termed as intuitive or subjective camera illustrating a vision and perceptions of an actor as he gaze at a certain object, for instance a lens of a film camera as he acts his scene. The thought of subjective cinema evokes the following as its basic characteristics – a vertigo zoom, eye line edits, a steady cam follow, inserts of characters thoughts, shaky cam. The subjective in a film isn’t bound to one character but there can be other subjective who present their scene. Such kind of direction is used in thriller, and horror films that can grip the spectators with tension impending suspense that makes them sit on the edge of the seat with along growing excitement.

Subjective & Objectve Cinema

The basic difference of the subjective & objective cinema depends on who sees what in what situation. Subjective cinema decides what the character and audiences has to see giving the impression of a live experience of the happening that can give the excitement that makes it look real. Subjective cinema shows the influences of the character and emphasizes on their own perspective and understanding that leading to one side view of the whole event or scene. Objective cinema makes it look as if the narrator is an outsider or third party who watches the proceedings of the scene in sidelines. The objective cinema doesn’t focus on personal feelings, or show any biased influences.

Subjective Filmmakers & Their Films

Alfred Hitchcock, Coen Brothers, Wachowski are some of the renowned directors who use subjective, multi-subjective, indirect subjective cinema. These directors use character relationship and place the camera to spice up the scene with visual trajectory. With author insert, subjective narration, cues and character identification, interrelated plots, narrative characters, emotional sequence helps in creating suspense and thrills.

Wachowshi brothers ‘V for Vendatta’, ‘Matrix’, Alfred Hitchcock’s ‘39 Steps’, ‘Champagne’, Coen Brothers ‘Miller’s Crossing’, ‘Blood Sample’ are some of the excellent example that covers subjective cinema in various ways and have to taste the flavored style of some of these elite directors.

Mise En Scene

October 20, 2014 By admin Leave a Comment

Introduction

Mise En Scene is defined as positioning-on-a-podium and an utterance utilized in outlining the blueprint detail in terms where a cinema or motion picture is concerned. In a simpler way, it can be labelled as a cinematic narrative technique with illustrative thrust, represented by graphically creative skillfulness by a fusion of carefully orchestrated storyboards, the artistry of filmmaking, panoramic stage plan and metrical fashion as steered by thorough supervision of an absolute radically-driven and artistically inspired cinematic director.

Definition

Generally all things and subject that come into sight for a cinematic camera apparatus of all shape and sizes including its orchestration, along with the components of the mechanisms and machineries, the panoramic location settings, the actors who are bound to bring life to the movie characters, the array of wardrobes fit to what a movie calls for a character to dress up and even the intricate and incorporation of proper lighting effects, all of it, comprises how Mise En Scene is being eloquently denoted. In order to alleviate some reinforcements in terms of demonstrating a foresight of a cinematic motion picture, diverse components of diagrams lend some hand to convey the message of a movie by inducing a discernment of duration and leeway, or a backdrop of ambience that may occasionally indicate the mindset of a demeanour, the locomotion of the actors and the items captured and augmented and projected within a cinematic shot of a motion picture camera.

Scope

In Mise en scene motion pictures, the process of editing a movie material produced and accumulated from the rolls and clicks of a film camera is known to be a means of creating mundane storyline narratives when it speaks of creating and reckoning a motion picture movie. Revamping movie materials accelerates in careening a filming progression at crafting a brazen charging tempo. This speeds up the shooting process in ways outlined earlier it speeds up the viewing process by creating a rhythm of forward action. Scenes and movie sequences generate episodes occurring at single gap at dramatic nick of time swaying the length of quick swings of the member’s opinions and ideas.

Mise-en-Scene filmmaking guides the awareness of the movie watchers to the very orb of the panoramic captured sense of the movie camera. This method dawdles the manufacturing of the scenes and meticulous precision had to be given serious consideration in executing a performance, illumination, and overall arrangement. In the event that an actor commits an inevitable error the whole scene has to be re-done. In lieu of the spectator’s point of view, it requires exceptional exigency if a movie takes root on mise-en-scène and protracted shots.

Motion pictures that cradles extensive shots and cuts hinges on mise en scene in order for the movie to equivocally express the core sense and the very exact message of the film when the cuts unfold a variety of cosmic affinity one by one. The broad-spectrum regulation put on view that the movies which were made under the mode of orthodox stability approach steer the spectators during the evolution of the sequence of events thus also giving the movie enthusiasts to have their piece of opportunity to be observant and introspective of the motion picture movie.

Theory

This artful technique known as Mise En Scene, that brings out the aesthetically imaginative and inventive grand facade of an artsy motion picture movies sprang its cradle in the bosom of the cinematic theaters, pertaining to all that stretch in the framework of a shot down to the drafting and the motions of the movie cameras and the actors, the mounting and the trajectory of the proper beacon of lights and amenities of the sound effects that may be necessitate to offer especially the overall impact the general illustrative set design may exhibit for the pleasure of the moviegoers in a unique illusion aimed to gratify the lucrative demands of the movie enthusiasts who desires to be catered with nothing but top notch quality entertainment that never fades away easily from the grasp of every moviegoers. The main theory of Mise en Scene is how to manipulate a shot by framing and orchestrating the cuts and wielding the shots in an artistic bearing to achieve a cinematic masterpiece.

Example

Some of the well remembered examples of time for mise en scene are futuristic furnishings and colour in the film Space Odyssey, Costume and appearance in My Fair Lady, defining social status in the film Senso, Lighting and reflection in the film Written on the Wind, Peking Opera Blues, dark lighting and props in Touch of Evil are some of the examples.

Feminist Film Theory

June 9, 2014 By admin Leave a Comment

Introduction

Feminist Film Theory is a theory that discourses about women’s participations and roles in almost every field in the community and in the society in general. In this modern world, women are not only limited on one single field of expertise. In every turn, the presences of women are extensively felt. May it be in politics, in Dramas, in Science, in Literature, in Arts, in Politics, in the Governance and even in Films.

The progression of Women’s Influences to the World of Drama, Comedy, Films and Movies, dated from the early Centuries of Television Productions and Cinema. Elizabeth Montgomery, for instance, from the situation Comedy Bewitched, was admired and loved by her role in the sitcom. She effectively carried her role and the show, as real and as lovable as she was. Beautiful and sunny and praise-worthy.

Evolution of Feminist Film Theory over years

Woman filmmakers are not from today but way back since the beginning of 19th century. And the first feminist movement happened to protect the women from gender difference to equal pay in the industry and acknowledging woman claiming her own rights and interests. The subjectivity to women expressing herself didn’t complete until the start of second feminist movement.

Feminist Film Theory

Feminist Film Theory, generally is about theoretical film criticism that arises from feminist politics and theories governed by the second wave feminism rooted from sociological theories concentrated on the how the public scrutinizes how women delivers the attitudes, scenarios, and characters given to them to portray in a particular film in a television or cinema screens. Some even disputes the diverse distinction between the male and female roles in a film which involves the public’s opinions and criticisms that have both a vital importance in the development of the given notions. This abstraction helps in the further analysis of the Feminist Film Theory.

It is said to be hypothesized by scholars that the parts of the women in a movie or drama is only the perception of the society about women and their functionality in the craft. Not long ago, specialists in a particular branch of Feminist Film Theory has elaborated their exertion on their dissertation and perusal on the discourses of the theory, taking as well into account grasping even the domains of Television and Digital media where the women workforce also thrives itself in interlacing success.

Feminist Film makers

In the genre of Filmmaking, there are notable women around the globe who are working behind the camera who are excellent in the field of history-making film industry.

·         Kathryn Ann Bigelow, the remarkable female director of the 2008 Movie “The Hurt Locker”

·         Sofia Coppola, of “Lost In Translation, having in her blood the legacy of her father, Francis Ford Coppola, her distinct filming approach concentrates on the affluent and the  juvenile  and the wealthy characters and individuals that she hones in her hands

·         Catherine Hardwicke, the female director of the first movie of the worldwide successful Twilight series, who has drawn so much awe and high esteem from the public for her work on the teen  vampire-inspired movie. She is the reason for the phenomenal career rise of the then unknown British young actor, Robert Pattinson she first casted to portray as her Vampire Edward Cullen. Catherine Hardwicke is notoriously noted for her Indie teen motion pictures. Other than Twilight, she has also shined in her “Thirteen” as well as in her “Red Riding Hood”

·         Haifaa Al Mansour, the very first Saudi Arabian filmmaker who made a mark with her exceptional craft, such as her Venice Awarded “Wadjda”

·         Phyllida Lloyd, the sensational female director of the films “Mama Mia”, and the biographical movie about Margaret Thatcher entitled as “The Iron Lady” portrayed by the Award-winning actress, Meryl Streep

Criticism

The influences of feminism in the world of filmmaking, shows the unparalleled power and flexibility and talents and skills and broad expanse of the female gender in the industry. However, there are film critics that debates the women’s functionality, the purposes of their presence and activities, and how the cinema or TV-viewing public regard the roles of women’s personifications may it be in a drama, a comedy, a sitcom, most of all in a big screen cinema.

Example

Feminist Film Theory – The Iron Lady

A critically acclaimed British biopic motion picture concentrating on the life and endeavors of Margaret Thatcher with an interminable service period stretching from 1925 – 2013 as a Prime Minister of United Kingdom during the 20th century. As directed by Phyllida Lloyd, Thatcher was depicted principally by an award-winning actress Meryl Streep. However, the young Thatcher was represented by Alexandra Roach. Jim Broadbent acts as Thatcher’s husband Denis Thatcher and Harry Lloyd being the young Denis. Anthony Head was casted as her cabinet member turned second in command, Geoffrey Howe. Despite the interlacing evaluations of this motion picture, Streep’s rendition of the lady Prime Minister was vastly applauded and was remembered as one of the first rate portrayal she has ever done in her entire occupation garnering her 17th Best Actress Nomination in Academy Awards for her role thus bringing home the bacon. Not only did this movie showered Streep her first Oscar Award trophy after twenty-nine years from her first win, she was also presented with her third Best Actress in a Motion Picture Drama award in the Golden Globe and her 2nd British Academy of Film and Television Arts Award as a Best Actress in a Leading Role. In the plot of the movie, the story launched in the times of 2008. The aged Thatcher walks unnoticed through a shop all by herself she went forth to purchase some milk. Old and powerless and suffering from impaired reasoning and reminiscing the shining days both of her personal and white-collar lifestyle, and about the pain of losing her other half and enduring the hardships of differentiating the variation of the bygone from the current. The movie’s subject matter convey’s about the empirical cost Thatcher recompensed for gaining her competence. This film is fully packed with a series of flashbacks from Thatcher’s life starting from her struggling adolescence, recounts of her hardships to position herself as a Lady Member of the legislature. Further flashbacks depicts the authoritarian yet mature persona of Thatcher who were belligerently blustering at her executives. This highly praised motion-picture film was first released in December 26, 2011 in Australia and in United Kingdom in January 6, 2012 then in France on February 15, 2012.

Oneiric Film Studies

May 29, 2015 By admin Leave a Comment

Introduction

Oneiric is a mode of expression in the field of film studies. It gives a rundown on the purpose of dreams and illusionary performances within certain films. This pertains to the applications of the symbolisms of the dream progressions and is an important aspect in the  exploration of the film. Having been constructed on the foundation of both the Freudian and non-Freudian hypothesis, oneiric acts as a link between what is factual and what is merely a preoccupied manifestation of an illusion. An Oneiric directive provides an intuition to the essence of the film.

Origin

The practice of representing and using dreams and dream-like aspects into the contents of a film is as old as the very antiquity of films itself. A differentiation of a film that is considered as being a vehicle of factual procreation, and a film that is taken-in as an enchantment and a trance in itself is observed over the years. The philosophers who are advocating the Oneiric features of motion pictures encourage filmmakers to reconstruct what is factual and make it abide to the merits of their underlying dreams.  Cinematic films dominates the flimsy human imagination that reflects factuality, and a faculty of compromise that regards a type of intuition with imaginary and beguiling attributes.

Exposure To Cinema & Movement

The filmmakers utilizes the oneiric element to infuse their film masterpieces with bizarre and ethereal effects. The most common leading dramatis personae of oneiric films are male actors. The embodiment of the character is distinguished with plots where he enacts a pattern of passion that incorporates arousing, erontic, and  affectionate actions. In oneiric films, the scenes are illustrated as if the characters are existing in a real domain. The climax of these films, however, unveils the fact that everything that was actually evolving around a dream.  No matter the frame of reference, Oneiric films possess a justification of accentuating an unseen and suppressed boundary of films to its viewers.

The most fitting example of an Oneiric film is the 2010 film entitled as ‘Inception ’ which was directed by Christopher Nolan. Further film examples are the 1985 film ‘Brazil ’ by Terry Gilliam, the 1986 film ‘Blue Velvet ’ by David Lynch, the 1999 film ‘Eyes Wide Shut ’ by Stanley Kubrick and the 2001 film  ‘Vanilla Sky ’ by Cameron Crowe.

In the film Inception, Dominick Cobb,  the main character who is  portrayed by Leonardo DiCaprio and Arthur, who was played by Joseph Gordon-Levitt, exerted on penetrating the subliminal psyche of their victim. Using a radical procedure, they draw out certain facts from the minds of the victims while engaging in an apportioned dream. Their activity fell apart when they victimized a businessman named Saito, who was also working on the act of injecting notions on the human brains. This award-winning films was applauded as the finest science fiction film with a preeminent sentimental depiction.

Concept

The progression to the realm of dreams is suggestive and, at time, clearly revealed. The dream world, at first, is calm, relaxing and illustrates a dream of peace and comfort. However, its trance-like character is eventually exposed which can be very dramatic and often disturbing. In the climax, the dream world turns into a nightmare. It is hit by disasters and turmoil which are unnatural and bizarre. The nightmare is released and triggered because the protagonist was not able to accomplish his aspirations.

Conclusion

Interweaving dreams feed the perplexing composition that signify an agenda that can generate assets of trading output. In view of this, more and more filmmakers began to orbit on the practice of the oneiric expression on their film productions. The materialization of existing in the illusion of make-believe is credited to the cognizance of the youth with the  growing absorption to the practices of collaborative dreaming. The conquering means of  being preoccupied in the dream in films is emancipating if it is acknowledged as a potential of an impression.

British New Wave

November 7, 2014 By admin Leave a Comment

Introduction

The British New Wave is a genre of films and filmmaking which emerged during the late 1950’s and early 1960’s. The term is derived from the French phrase ‘nouvelle vague’ which means ‘New Wave’. The new wave films originated in France with the works of François Truffaut and Jean-Luc Godard gathering a movement called French New Wave.

New Wave of Britain

The British New Wave films were inspired by the lower classes of British society. It is highly influenced by the French nouvelle vague and carries similar cinematic styles. These movies celebrated and glamorized the working classes and gave them a mantel for representation in mainstream media. The daily struggles that the workingmen classes go through, their aspirations, dreams and their lives are the main focus of the new wave films.

Earlier these very elements were often ignored. The working classes were portrayed in terms of comedy and humour. Thus, they were reduced to mere objects which were used for the entertainment of others and thus, stripped of their values as human beings. The new wave represented them as human beings with feelings and aspirations. It gave the working classes a voice in the backdrop of the economic rise of these classes.

Generally, filmed in black and white the films were spontaneous and are not shot in studios. This was a big break from typical mainstream feature film, shot in real locations in a documentary style with real people. Thus, it gives a very realistic imagery of the lives of the people involved. They are the protagonists in the film and the story revolves around them. Their emotions are displayed vividly. They are not ‘extras’ or secondary characters but in fact people with real emotions and feelings.

British New Wave Films

These new wave films have literary offshoots. A whole genre of literature has been influenced by these films. However, they died out by 1960. This is probably because the British new wave was pretty short-lived as well. The first new wave movie, ‘Room at the Top’, came out in 1959 and the last one came out in 1963.

There two main themes in the new wave films:

1.    Class structure and its restrictions

2.    Unplanned pregnancies

The movie, ‘A Kind of Loving’, includes both the themes. The characters, Vic and Ingrid, have to struggle to keep their marriage under wraps.

Another breakthrough is the on-location shooting in the Midlands of North Britain. Thus, many of the restrictions that a studio placed were negated. Films which were released later also portrayed conflicts within the working classes. The focus was on ‘rough’, working people who were daily wage earners. They were juxtaposed against the upper working classes.

Debates & Controversy

The debates around the British new wave films are complex. They include debates on class and class conflicts, social systems and change, the essentials of power and how the mind influences the social and economic order. Professor Peter Hutchings wrote an article called ‘Beyond the New Wave: Realism in British Cinema, 1959-1963’, which addresses imagery and representation in the new wave films. He suggests that realism was spread in these crucial years across time and space in the various genres and range of films. One of the main reasons why these movies were so popular and well received is because the themes of anti-establishment often ran into them.

Thus, British New Wave films were revolutionary in attitudes and representation. They brought the poor and the working class into mainstream cinema and glamorized their struggles and lives. Despites its short span, it influenced various genres of film and literature.

Black Cinema

May 7, 2015 By admin Leave a Comment

Introduction

Black cinema refers to films that arose in the early 1900s. They consisted mainly of black actors in the lead roles. It is also known as African American cinema. It has given rise to various genres of films such as ‘Blaxploitation’. Black cinema continues to exist in modern times with the rise of many famous black celebrities and personalities.

Origin

During the era of silent cinema, the film industry was dominated by white people. Black characters were played by white actors who used blackface, that is, actors who painted their faces black and mimicked blacks. Even black actors had to put on black makeup to appear more mimicked. Such a racist and non-inclusive setting led to the exclusion and dehumanization of black people. Against this background, black cinema industry emerged as a parallel to the white-dominated film industry. Mia Mask says that ‘African American cinema is a metaphor for black experience because it is a history of the struggle for addition.’

Exposure to Cinema & Movement

In modern times, black cinema has witnessed an upsurge with the rise of black actors, directors, producers, scriptwriters etc. Oscar Micheaux is known as the ‘father of black filmmakers’ and some of the artists that have made their mark in the World of Cinema are Halle Berry, Denzel Washington, Oprah Winfrey, Morgan Freeman, and Tina Turner, and one of the famous recent film on black cinema is “12 Years A Slave “.

Black cinema is not an isolated phenomenon by itself. It is closely associated with the struggles of the black community. Black movements such as the Civil Rights Movements are deeply ingrained in the fabric of black cinema. Early black cinema visually brought the stories of black people to life. The black independent film movement paved the way for black film production. Filmmakers such as Pamela Jones, Haile Gerima, Julie Dash, Larry Clark etc. had themes of black political struggles with an intellectual and cultural theme in their films.

The fitting example to Black Cinema is the Steven Spielberg 1997 film, “Amistad ” released on December 10, 1997. Amistad was rooted from the real-life story about the uprising that occurred on the slave ship known as La Amistad in 1839. The blockbuster film garnered massive positive feedbacks from critics and film audiences on the first day of its release in cinemas. The film depicts the struggles of the black slave SengbePieh also known as Joseph Cinqué along with other slaves who fought to survive for freedom and the ruthlessness and brutality of slavery they had experienced on the ship, where they had killed a number of officers in self-defense.  They were eventually freed from slavery but were put in trial of court for killing the officers of the slave ship.

Other film examples are the 1998 film of Jonathan Demme, “Beloved ” that stars Oprah Winfrey, Danny Glover, Thandie Newton, and Kimberly Elise, the 1974 film by John Korty “The Autobiography Of Miss Jane Pittman ” starring Cicely Tyson, and the 1987 film by Justin Chadwick “Mandela: Long Walk To Freedom ” with Danny Glover as Nelson Mandela and Alfre Woodard as Winnie Mandela.

Concept

The 1970s saw a memorable moment in motion picture history when Blaxploitation came into the limelight. In and around the 1970s, the typical stereotypes of black people was limited to shoe-shine boys, train porters, waitresses and basic, minimum wage workers who usually belonged to the lower and working classes. This stereotype was busted by the emergence of ‘Blaxploitation’ into motion pictures. Mostly set in the poor neighborhoods, the themes were centered on black slavery there are several subtypes of the genre that includes martial arts, horror, crime, comedy, drama and musical. These movies were one the earliest ones to feature funk and soul jazz soundtracks which were complex to a varying degree and quite unpopular in 1970s. The filmmakers of other genres were influenced by Blaxploitation to include stereotypical Blaxploitation characters in their movies. Blaxploitation horror movies formed a sub-genre in the 1970s. ‘Blacula’ is a fine example of such hysterical movie which inspired film makers to make other Blaxploitation horrors like ‘Blackenstein’ and ‘Dr. Hyde’. Blacula was a big success in the box office.

Conclusion

To conclude, the black cinema has always been intricately linked with the social issues in the black community and has always served as an imagination of what blacks always aspired. It is evolving and changing with time. Now that situations are different for blacks, it is interesting to speculate in what direction black cinema would go.

Cognitive Theory On Films

August 22, 2014 By admin Leave a Comment

Introduction

Cognitive Theory is a presupposition that tackles and is dedicated about the individual’s understanding of things happening around him. It is a theory that zooms in on uncommon series of quintessential circumstances in a person’s life, from the music that he listens to, from the books that he reads, from the subjects he learns in the university, from the daily communications he does with the people he mingles with every single day even from the movies that he watches, from the analytical games that he plays and from the problems he encounters in his life and workplace and on how he reacts and deal with those particular bumps on his roads.

A study of the human intellect and how quickly he can adjust and adapt himself by digesting and engulfing in his brain about the panorama of life that he gets to behold every single day; whether from real life personal experiences or from the diverse entertainments that is registered by viewing television or cinema is Cognitive theory.

This broad understanding of an individual’s mental ability to grasp and solve easily even the hardest of problems that is being thrown at him. It is a theory about how a person can distinguish and point out an image of a wine glass while some may see the image as mere silhouettes of two heads facing each other. It is about a comprehension of a person’s skills in deciphering more than what plainly the eyes can see. Cognitive theory can be said to be a theory that expound on the amazing ability of a person to perceive more than what an image is serving him with. It is likewise a study on how vast and  stunning and vivid a person’s appreciative and imaginative sensory motors can go and drive him beyond the limits of his capabilities.

Theory

The Cognitive Theory aims to exemplify the vitality of human comprehension through the given medium of artistry. Cognitive theory existed in its intent to unravel every person’s cerebral diversions and interests. How he quickly get the bottom of things, how he can easily identify a given object of picture or sound or word or the tastes of a given food or delicacy. How he can deliver and share his very own personal logic and judgements on things. How easily he can recall things and lines from a song or from a book or a certain scene from a recent movie that he was able to watch. How he can easily retain vital specifics to his memory and apply such things effectively through the aid of his bright and vivid memory. Cognitive Theory also explore and analyze and wade through the exceptionally mentally challenged minds of certain individuals who may, despite of his mental impairment, still he may be able to evoke such high level of intellect far more greater than the normal people compared to him in fields such as Sciences and Geometrics. In Cognitive Theory everyone and everything is carefully taken into consideration. Everything is taken into a deepmost and thorough perusal and analysis.

Relevance With Films

Cognitive Theory plays a great claw and impact on the dazzling and stunning and mesmerizing and mystifying domain of cinematic films. Cognitive Theory on Films serves as a graphic and mundane representation of images and character representation and emotions expected to a given scene and theme and characterization to a certain movie. This particular theory provides more depth and essence and framework and eloquent recapitulation and vivid and most often than not, outlandish extemporization and symbolization of the every aspects in a film including the settings of a film, the lighting, the careful and thorough choices of the sound scores, the in-depth choices of the castings and characterizations and the staffs and the crews and even the scriptwriter’s pool, and even how the script be wisely and perfectly deliberated and be metamorphosed, transforming it to be much larger than life itself no matter how impossible transforming the hugely unimaginable to become beyond imaginable in the heart of the people’s core fantasies and imaginations.

The motion pictures academic work is majorly and vehemently impacted with cognitive theory. Concentrating on fundamental appropriations of cognitive educations in association to: perception, sentiments, chronicled account of a story or history, and abilities and powers of an individual to precisely recall every vivid aspects of a film or motion pictures he or she is watching. The connection of chronicles of connective events, human passions, and reminiscences, that being the case, condensed to our assimilation as to what and who we actually are as we link our lives relate to and adhere and conform to every scenes and details offered to us by each and every motion pictures we are watching and contemplating and brooding upon, as based mainly from our personal point of views and first-hand intellectual belief and convictions and perceptions to a particular film and as to how we delve deep our attitudes, characters and emotions into it.

Some of the best referred films that can make a finest collection in the list of Cognitive films can be

Example

Cognitive Theory On Films – Good Will Hunting

Good Will Hunting is a movie released in 1997, written by the protagonist of the movie, Matt Damon, portraying the title role and was directed by Gus Van Sant. This film is about an intellectual kid making a living as a janitor who is steering his absolute existence to borders of his very self-incrimination by a fraction each day while his friends are trying hard everything they can to correct his wayward disposition on his life . In the movie, Will meet Dr. Sean Maguire, played by Robin Williams, a therapist who has completely changed the life of Will for the better by means of rubbing to the very weakest spots of Will making him eventually unlocking himself from his array of insecurities and acknowledging that both him and Dr. Maguire have the same experiences being 

Bechdel Test

July 25, 2015 By admin Leave a Comment

Introduction

The Bechdel Test is a type of sexism test in the bracket of films. This test is otherwise known as the Bechdel/Wallace test or the Bechdel Rule or Mo Movie Measure and is marked as a measure of gender depiction in the films. The label of his particular examination is taken after a caricature artist, Alison Bechdel. She is the brain behind the string of cartoon strips that has encouraged the evolution and fame of her works. This test has garnered huge amount of inspiration and are often utilized in the assessment and ranking of the cinematic films.

Origin

Bechdel created a number of directives in connection to this test in her cartoon strip artworks, most especially in her “Dykes to Watch Out For ”. These comic strip materials began to be distributed in 1985. In her other masterpiece entitled, The Rule, a set of guidelines for a feminist film was laid down such as:

1.    A film ought to have a couple of women

2.    These women should talk interactively to each other

3.    The topic of interaction should be about anything without mentioning about the opposite gender

This test classifies a film using these three standards. If a film fails to meet the just a single stipulation of this test then a film fails the test as a whole.

Exposure To Cinema & Movement

The Bechdel Test was acknowledged as a large component in classifying a certain cinematic film. However, a lot of films fail to meet the demands of this particular test. In terms of cinematic films, the storyline is materialized with the editing procedures. The interesting matter about this test is that it hammer down through the affinities in the film and defines how each of the film’s roleplayers out to be depicted. It is important for a film to live up to want the test specifies in order for a film to pass the Bechdel test.

The most fitting cinematic film that upholds Bechdel Test is Erik Canuel’s 2015 film “Bad Hair Day ” under the Disney Channel. This film is about a high school student named Monica, who aspires to become a prom queen. But things went awry when on her very special day she was plagued with a bad hair day, and a damaged prom dress and shoes and the necklace she bought from a vintage store was actually from a lady cop Liz Morgan. The lady cop only wants two things: her necklace and her job back to her again. The lady cop did run on the kid but a jewel snatcher, Pierce, wants to steal the necklace. The student and the lady cop managed to get the robber jailed and the film had a favorable ending.The student was able to attend her prom night along with an escort of the entire police force of their community.

The film garnered an immense response of 3.97 million viewers during the screening. Further film examples are the

1.    Margarethe von Trotta’s 1981 film titled as “Marianne and Juliane ”

2.    MarleenGorris 1982 film “A Question of Silence ”

3.    Sally Potter’s 1983 film “The Gold Diggers ”

Concept

The concept of Bechdel Test is to assert the guidelines on cinematic films to highlight the essence of women characters in the film. The laid down requirements of the test carried out a larger concern for the female characters getting depicted in films where the male characters should have been. The female characters are noted in accordance to their connection to the opposite gender. The test then, imposes that the female roleplayers should carry on a dialogue about anything except for talks about males. However, the critics claim that the test itself failed show the measure of the nature of the female characters in the films.

Conclusion

In conclusion, Bechdel Test is a determining factor in typifying a certain film in terms of standardizing and ranking it. This test demands the highlighting of feminism in a particular cinematic format that openly reflects in the three guidelines of this test. However, whether to meet or come short with what the test requires does not warrants the totality of the female attributes in films. The intention of this test is not to determine who can succeed through the test and who can fail. The test aims to prove how the progressions of the utmost clusters of mass communications are made of.