Viewing entries from category: Theory
Categories: Analysis, Film Analysis, Courses, A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Hot Entries, iTraining, Improve Your Teaching, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory
Cinema is now nearly 120 years old and it’s a magnificently broad, deep, complex and exciting subject.
It’s understandably easy to think that the way films are now is how they have always been, in terms of their technology and particularly how they organize (tell) their stories. However, this isn’t the case and so it’s important for us to be aware that all forms of cultural expression evolve across time and that they are subject to many influences, intended or not. Understanding how cinema began might, in...[ read full article ] »
Categories: Analysis, Film Analysis, Courses, A Level, WJEC A Level, WJEC AS, WJEC A2, FM4, Section B: Spectatorship Topics, Genres & Case Studies, Avant-Garde, Cinéma Vérité, Documentary, Experimental, Hot Entries, iTraining, Improve Your Teaching, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory
Definition and Introduction
As one might expect the term experimental cinema is difficult to define clearly and by its very nature avoids simplistic categorisation. Within the movement itself there has been frequent debate over its definition. Fred Camper discusses experimental film-makers such as Peter Kubelka and Stan Brackage who questioned titles like ‘Avant-garde’ for suggesting experimental cinema is intrinsically European, ‘different cinema’ was used for a while but rejected for sounding like it’s at odds...[ read full article ] »
Categories: Analysis, Film Analysis, Courses, A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Films & Case Studies, Directors, Danny Boyle, Tim Burton, Hot Entries, Theory, Auteur Theory, Film Theory
As we know, there are a fascinating range of ways in which to explore what cinema is; for example: how it achieves its impact on an audience, how technology informs creative choices and how a particular film can tell us something of the culture that produced it. These are all ways of understanding the relationship between text and context. However, the concept that remains perhaps most popular, accessible and fundamental to our thinking about cinema, perhaps because it humanizes a very technical and technological...[ read full article ] »
Categories: Analysis, Film Analysis, Courses, A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Films & Case Studies, World Cinema, Amores Perros, Volver, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Film Theory
It is important to firstly consider the context of this unit as an exploration of world cinema. World cinema is difficult to define; with most definitions reverting to that it can be defined simply as any cinema outside of the globally dominant industry of Hollywood or any non English language cinema. Often discussed as an alternative to Hollywood’s ‘dream factory’, World cinema tends to be perceived as possessing certain features offering an insight into another country’s culture, a low budget gritty representation of real life or...[ read full article ] »
Categories: Analysis, Film Analysis, Courses, A Level, WJEC A Level, WJEC AS, Film Industry, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Non-Hollywood Films, Trainspotting, Genres & Case Studies, British Film, Social Realism, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Film Theory
Ewan McGregor is a major British film star who has appeared in a wide range of films that have been released globally since 1994. His career has combined performances in a range of lower budgeted feature films and work in highly budgeted, event films released by the major film studios. Over the course of almost twenty years McGregor has appeared in nearly fifty films.
Professionally trained as an actor at London’s Guildhall, McGregor hails from Scotland and the narrative of his career progression from provincial Scotland to being an...[ read full article ] »
Apparatus Film Theory
‘Apparatus’ is another word for the means in which a specific production is created. In the case of film / cinema, the film projector and the screen. Apparatus Theory is a model of spectatorship and institutions. It argues that cinema is ideological (based on ideas) because the films are created to represent reality. This means that because film is created to illustrate different ideas, everything has meaning - from the camerawork to the editing. It argues that ideology is not imposed on cinema, but is part of its...[ read full article ] »
We had an enquiry recently about Postmodernism which led to some productive responses. Ellen Grundy’s approach involved:
(L)ooking at representation and postcolonialism (as follows):
A research task on Gurinder Chadha and her films. How do her life and the themes of her films suggest a post colonial identity? For example Bend it like Beckham as a coming together of different ethnicities / cultures.
The classic clip of going for an ‘English’ in Goodness Gracious Me that turns representation on its head. Useful for debating how different...[ read full article ] »
What is Auteur Theory?
There are various debates underlining the existence of Auteurs; how to define an “Auteur” has been much theorized. The original concept took birth in the pages of the Cahiers du Cinema in the 1950s, particularly voiced by French Nouvelle Vague filmmaker, Francois Truffaut.
Truffaut was both very critical of the trend in French cinema to identify the author as the screenwriter and very aware of both his, and his other Nouvelle Vague counterparts’ signature styles. In 1954 Truffaut wrote an essay entitled A...[ read full article ] »
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