Sunday, September 30, 2007
Sunday, September 2, 2007
A Narcissistic Intro to Film Theory
based on Turvey: Film theory aims to go beyond
"understanding intentions of film makers, interpreting the meanings of their films, identifying formal and stylistic conventions they are employing and innovations (if any) they are introducing."
In the context of this course: Film theory aims at
understanding world cinema beyond it's nationalistic/sociological settings which encourage cause and effect readings of film makers intentions, satisfying oneself with the "free indirect subjective" in the deliberate absence of definitive semiology, identifying the stylistic conventions they are employing not by name but by asking how and why they make us feel/think/act the way we do.
"understanding intentions of film makers, interpreting the meanings of their films, identifying formal and stylistic conventions they are employing and innovations (if any) they are introducing."
In the context of this course: Film theory aims at
understanding world cinema beyond it's nationalistic/sociological settings which encourage cause and effect readings of film makers intentions, satisfying oneself with the "free indirect subjective" in the deliberate absence of definitive semiology, identifying the stylistic conventions they are employing not by name but by asking how and why they make us feel/think/act the way we do.
free indirect subjective:
images which are simultaneously direct and indirect, subjective and objective represent a merging of film maker and character. For example in 4 the dolls when read objectively could represent for example a nation nation attempting to rebuild itself, hindered by antiquated construction practices (indirect discourse). To Marina the dolls could be subjectively considered harbingers of her sisters death (direct discourse). The dolls however are not able to be divided into their direct or indirect meaning because both meanings exist in multiple forms and on multiple planes of existence that are not mutually exclusive of each other. Meaning in the "free indirect subjective" image is thus expanding and ominous.
Here im assuming that subjective meaning is that experience by the subject of the film the character and objective meaning is the symbolic meaning placed on the image by the film maker.
Thinking about 3D grid representations super positioned over time (as opposed to bridges)...
http://www.zamandayolculuk.com/cetinbal/TheoryforGraviticPropulsion.htm
images which are simultaneously direct and indirect, subjective and objective represent a merging of film maker and character. For example in 4 the dolls when read objectively could represent for example a nation nation attempting to rebuild itself, hindered by antiquated construction practices (indirect discourse). To Marina the dolls could be subjectively considered harbingers of her sisters death (direct discourse). The dolls however are not able to be divided into their direct or indirect meaning because both meanings exist in multiple forms and on multiple planes of existence that are not mutually exclusive of each other. Meaning in the "free indirect subjective" image is thus expanding and ominous.
Here im assuming that subjective meaning is that experience by the subject of the film the character and objective meaning is the symbolic meaning placed on the image by the film maker.
Thinking about 3D grid representations super positioned over time (as opposed to bridges)...
2D cross-sectional graphic representation of the distortion of space-time surrounding an atom or a star.
Compare the shape of "cells" near the center of mass with those further away - a photon propagating past this mass
will tend to move toward it simply because energy is transmitted through filaments at a constant rate,
therefore its speed, direction and size with respect to our measurement of 3D space will appear to change.
http://www.zamandayolculuk.com/cetinbal/TheoryforGraviticPropulsion.htm
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