Презентация на тему Film program coming up

conventions and experience (cultural, historical)

Emotion or Affect (represented in

cinema and induced in spectators), are caused by the dynamic of the form through expectations and are context-dependent

found footage, clips from B-movies, news reels, and other

sources
narrative elements out of context
associational
thematically organized
montage

plot summary
Explicit, i.e. clearly conveyed messages, ideas or dynamics
Implicit,

i.e. derived from interpretation
Symptomatic, i.e. situates media texts meanings in relation to ideology: social/cultural/historical frameworks

which supplants experience of time perhaps more fully than

literary ones.
Our sense of time and the audio-visual field are taken over as we lose ourselves in the cinematic experience.
It is narrative film's naturalism that many theorists have directed their attention.
Thinking critically about the role of fictional representations in our understanding and engagement with the world.

that reinforce film's naturalism are historically and culturally specific.
Considering

how these structures are ideologically complicit. All narratives convey messages that reinforce particular worldviews.
Exploring possibilities for resistant or non-normative interpretations.
Theories of spectatorship: how viewers make meaning; identification; interpolation.

to make a film that falls outside of ideological

systems.
However, some theorists have suggested that different systems of filmmaking might afford an increased space or possibility for reflection or critical distance.
Open texts: media which encourages critical interpretation or reflection
Closed texts: media which resist critical reflection.

cause-effect relationship occurring in time and space
Shapes viewers’ expectations
Temporal

and causal relations allow us to make sense of the story

or implied (may include elements outside the plot: prior

events, background, etc..). Also called diegesis
plot is all that is presented in the film (may include elements that are not part of the story: credits, titles, etc…).

emerge in the Hollywood studio films from the 1920s

- 1950s (and propagated to the world).
Though many recent Hollywood and non-Hollywood films do not strictly adhere to these conventions, they still have a broad influence on cinema form.

in space (location)
Emphasizes causal relations
Main protagonist(s) usually the causal

agent
Requires viewers to link elements of the plot; to fill in the story
Holds back narrative--actively engages audience
Constructs meaning in relation to other texts, including media texts (Employing conventions of genre). This is referred to as intertexuality.

central protagonist drives the narrative through his/her decisions, choices,

psychological traits, fait.
Often narrative is driven by protagonist's desire.
Impediments to this desire are counter-forces that shape the major conflict(s). These may be the actions and desires of other characters; or natural, social or political events.
Almost all CHC involves overcoming one or more problem(s). Conflict is essential to CHC, and is often linked to flaws in key character traits of the main protagonist(s).

of closure at the end and seek to complete

their causal chains with a final effect.

its narration. Viewer has knowledge unavailable to any give

character. Identification with filmmaking apparatus.
Omniscience is significant as plot is commonly structured around the protagonist "coming into knowledge", epiphany.
In mystery/detective films the viewer tends to share the limited knowledge of the protagonist.

in the plot by flashbacks and flashforwards, parallel events.
story

duration usually stretches beyond plot
plot duration, selects some spans or slices of story duration.
screen duration, the physical time in which the film is shown. Independent from the story and plot duration. Screen duration can expand or contract story duration.
temporal frequency: a story event can be shown more than once in the plot.

concern. (oral or literary texts might not specify space).
Location

in presented right away--the spatial characteristics of the opening scene are some of first information we take in.
The physical setting and visual elements necessarily come right away.
Camera movement confirms the extension of space beyond the frame.
Information conveyed several ways at once. Condensation,Over-determination

CHC Narrative Construction

protagonist is passive.
Films where major social forces take the

place of protagonists. (documentaries may or may not follow the rule).
A key principal of narrative is the representation of change. Films in which change is not the central principal: for example, where description is what is achieved.