Film theory Film theory Andrew Sarris is a film critic and a leading proponent of the Auteur theory of criticism. He is generally credited with popularising this theory in America. He wrote the highly influential book The American Cinema: Directors and Directions 1929-1968, published in 1968, an opinionated assessment of films of the sound era, organized by director. The book was influential on other critics and helped raise an awareness of the role of the film director among the general public. ...more on Wikipedia about "Andrew Sarris"
Apparatus theory, derived in part from Marxist theory, semiotics, and psychoanalysis, was the dominant theory within cinema studies during the 1970s. It maintains that cinema is by nature ideological because its mechanics of representation are ideological. Its mechanics of representation include the camera and editing. The central position of the spectator within the perspective of the composition is also ideological. ...more on Wikipedia about "Apparatus theory"
Art film is a film genre with a loose narrative, often experimental, presented as a serious artistic work. Some films that can fall into this catagory are foreign-language films, indepdendent and non-mainstream films, as well as documentaries and short films. The producers of art films seek a niche audience rather than mass appeal and usually present their work at specialty theatres and film festivals in large urban areas. Art film provides similar kinds of cinematic illusion that one finds in classical Hollywood cinema as well as allusions to previous periods in cinematic history. However, by loosening the ties between its style and narrative concerns, it allows for increased subjective realism and authorial expressivity. ...more on Wikipedia about "Art film"
The term auteur ( French for author) is used to describe film directors (or, more rarely, producers) who are considered to be artists with their own unique vision. The word was first coined in François Truffaut's 1954 essay "A Certain Tendency of the French Cinema" (See main article at Auteur theory). ...more on Wikipedia about "Auteur"
The Auteur Theory is the theory that a film (or a body of work) by a director (or, rarely, a producer) reflects the personal vision and preoccupations of that director, as if he or she were the work's primary "author" ( auteur). The auteur theory has had a major impact on film criticism worldwide ever since it was first advocated by François Truffaut in 1954. "Auteurism" is the method of analyzing films based on this theory (or, alternately, the characteristics of a director's work that makes him an auteur). Both the Auteur Theory and the auteurism method of film analysis are frequently associated with the French New Wave and the film critics who wrote for the Cahiers du cinéma. ...more on Wikipedia about "Auteur theory"
Cahiers du cinéma is an influential French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. It was a development from the earlier magazine Revue du Cinéma and the members of two Paris film clubs — Objectif 49 ( Bresson, Cocteau and Alexandre Astruc, etc.) and Ciné-Club du Quartier Latin. Initially edited by Eric Rohmer (Maurice Scherer) it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut. ...more on Wikipedia about "Cahiers du cinéma"
In film theory, genre refers to one method of dividing films into groups. Typically, genres are formed of films that share similarities in the narrative elements from which they are constructed. ...more on Wikipedia about "Cinematic genre"
Claude Chabrol (born June 24, 1930) is a French movie director and has become well-known in the 40 years since his first film, Le Beau Serge, for his chilling tales of murder, including Le Boucher. ...more on Wikipedia about "Claude Chabrol"
Dai Jinhua ( 1959) is Chinese feminist film critic. She teaches at Bejing University as well as in the United States. ...more on Wikipedia about "Dai Jinhua"
In diegesis the author tells the story. He is the narrator himself who presents to the audience or the readership his or his characters' thoughts and all that is in his or their imagination, their fantasies and dreams. ...more on Wikipedia about "Diegesis"
Eric Rohmer (born Jean-Marie Maurice Scherer, April 4, 1920, Nancy, France) is a French film director. He is regarded as a key figure in the post-war New Wave cinema and is a former editor of influential French film journal Cahiers du Cinema. ...more on Wikipedia about "Eric Rohmer"
Feminist analysis is the extension of feminism into theoretical, or philosophical, ground. It encompasses work done in a broad variety of disciplines, prominently including the approaches to women's roles and lives and feminist politics in anthropology and sociology, economics, women's and gender studies, Literary criticism, and philosophy (especially Continental philosophy). ...more on Wikipedia about "Feminist analysis"
Feminist film theory is theoretical work within film criticism which is derived from feminist politics and feminist theory. Feminists have taken many different approaches to the analysis of cinema. These include discussions of the function of women characters in particular film narratives or in particular genres, such as film noir, where a woman character can often be seen to embody a subversive sexuality that is dangerous to men and is ultimately punished with death. ...more on Wikipedia about "Feminist film theory"
Film theory seeks to develop concise, systematic concepts that apply to the study of cinema as art. Classical film theory provides a structural framework to address classical issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship. More recent analysis has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory, and theories of documentary, new media, third cinema, and new queer cinema, to name just a few. See also film criticism. ...more on Wikipedia about "Film theory"
Formalist film theory is a theory of film study that is focused on the formal, or technical, elements of a film: i.e., the lighting, scoring, sound and set design, use of colour, shot composition, and editing. It is the most dominant theory of film study in the world today. ...more on Wikipedia about "Formalist film theory"
François Roland Truffaut (born in Paris, on February 6, 1932; died in Neuilly-sur-Seine on October 21, 1984) was one of the founders of the French "New Wave" in filmmaking, and remains an icon of the French film industry. He wrote, directed, acted in and produced over thirty films. ...more on Wikipedia about "François Truffaut"
The New Wave ( French: la Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with conservative paradigm. ...more on Wikipedia about "French New Wave"
The concept of gaze (often also called the gaze), in analysing visual media, is one that deals with how an audience views other people presented. This concept is extended in the framework of feminist theory, where it can deal with how men look at women, how women look at themselves and other women, and the effects surrounding this. ...more on Wikipedia about "Gaze"
Intellectual montage is an alternative to continuity editing proposed by Sergei Eisenstein where a new idea emerges from a sequence of shots and where the new idea is not originally found in any of the individual shots. ...more on Wikipedia about "Intellectual montage"
Jacques Rivette (born March 1, 1928) is a French film director. ...more on Wikipedia about "Jacques Rivette"
Jean-Luc Godard (born December 3, 1930) is a Franco-Swiss filmmaker and one of the most influential members of the Nouvelle Vague, or " French New Wave". ...more on Wikipedia about "Jean-Luc Godard"
Laura Mulvey (born August 15, 1941) is a British feminist film theorist. She was educated at Oxford and is currently professor of film and media studies at Birkbeck College, University of London. She worked at the British Film Institute for many years before taking up her current position. ...more on Wikipedia about "Laura Mulvey"
Magic realism (or magical realism) is a literary genre in which magical elements appear in an otherwise realistic setting. The term was coined in the 1920s by a German art critic to describe a trend in post-Expressionist German art (see History below), but it is most often associated with the Latin American literary boom of the twentieth century, marked by the publication of One Hundred Years of Solitude by Gabriel García Márquez in 1967, which is considered the seminal magical realist text. Magical realism can be detected in the supernatural tales of E.T.A. Hoffman, which are related in the down-to-earth tone of confessional journalism. Magical realism may be viewed as more than a specific historical-geographical literary movement; it is an element of style that can be located in a large variety of novels, poetry, painting, and film. ...more on Wikipedia about "Magic realism"
Marxist film theory is one of the oldest forms of film theory. ...more on Wikipedia about "Marxist film theory"
A melodrama in a more neutral and technical sense of the term is a play, film, or other work in which plot and action are emphasised in comparison to the more character-driven emphasis within a drama. Melodramas can be distinguished from tragedy by the fact that it is open to having a happy ending. ...more on Wikipedia about "Melodrama" The Ultimate http://www.shortopedia.com Machine.
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