Siefried Kracauer (1889-1966) Critic of “modernity” (Frankfurt School) Human condition characterized by alienation Mass culture/society manipulates individuals Materialistic values have replaced religion, metaphysical, romantic convictions, resulting in disenchantment People live distracted lives Film as a “redemptive” experience that can show man damaged condition of modernity and help him transcend materialism Two Approaches to Filmmaking CINEMATIC REALISM More metaphorical Often more romantic, spiritual, and philosophical subjects “Experience the rain, be one with the mud” Two Approaches to Filmmaking CINEMATIC REALISM Emphasis on the power of the pure image Mise en scene, not montage Viewer must think about what he /she is seeing Required to look deep into the image Experiential Two Approaches to Filmmaking Mise en scene “Everything that goes into the composition of the shot, including the composition itself: framing, movement of the camera and characters, lighting, set design and general visual environment.” Robert Kolker, Film Form and Culture Two Approaches to Filmmaking CINEMATIC REALISM (Mise en scene) Long takes Capture “reality” as it is Deep focus, depth of field Less directorial control of what the viewer should focus upon Ambiguity More “real” Montage Manipulates! 1.Evokes emotional/visceral reaction 2.Little time to think about what you see 3.Editor controls mood, pace, tone Two Approaches to Filmmaking MONTAGE One interpretation (no ambiguity) Editor (director) manipulates meaning Not “realistic” Two Approaches to Filmmaking MONTAGE One interpretation (no ambiguity) Editor (director) manipulates meaning Not “realistic” Shot-reverse shots that violate 180 rule Two Approaches to Filmmaking MONTAGE Eisenstein Hollywood CINEMATIC REALISM Bazin Mise en scene, long takes Kieslowski Soviet Montage Cinema (1910s-20s) Battleship Potemkin (Odessa Steps)(Odessa Steps) Allusions: Untouchables Naked GunUntouchablesNaked Gun Soviet Montage Cinema (1910s-20s) EISENSTEIN FILM THEORY Rooted in Marxist concept of dialectic materialism-point and counterpoint Cognitive model of artistic creation Dominant organizing principle Four major types of montage MetricDifferent shot lengths RhythmicDifferent pace TonalAtmosphere IntellectualSymbolic meaning Soviet Montage Cinema (1910s-20s) SERGEI EISENSTEIN (1899-1970) Viewed montage as the basis of cinema Juxtaposition of contrasting elements Constructivist emphasis upon mechanistic assemblage Montage of attractions “Objects in collision, producing an explosion that would arouse the viewer” Pavlovian theory: Controlled orchestration to mold and manipulate the audience Soviet Montage Cinema (1910s-20s) LEV KULESHOV (1899-1970) Experiment: shots of woman in coffin, bowl of soup, and a child-inserted between same shot of a man Audience will bring their experiences to a film to try to make sense out of apparently unrelated images Audience does not visualize “C” in his/ her mind-assumes that the actor is actually conveying that emotion West in the Land of the Bolsheviks From “filmed plays” to an “assemblage of images” Kuleshov effect: montage editing Meaning of a particular shot determined by its relation to adjacent shots Viewer sees A then B, thinks C Soviet Montage Cinema (1910s-20s) LEV KULESHOV (1899-1970) 1924: The Extraordinary Adventures of Mr. Introduction to Film Theory Cinematic Realism vs. Montage Editing."- Presentation transcript: Presentation on theme: "Introduction to Film Theory Cinematic Realism vs.
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