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Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs. [1]
In deductive reasoning, a sound argument is an argument that is valid and all of its premises are true (and as a consequence its conclusion is true as well). An argument is valid if, assuming its premises are true, the conclusion must be true. An example of a sound argument is the following well-known syllogism: (premises) All men are mortal.
Anempathetic sound in a film is the opposite of empathetic sound: it consists of music or sound effects that exhibit an indifference to the current tone, emotion, or plot-point of the film. This type of sound can thereby enhance a sense of tragic apathy and insignificance, as when a radio continues to play a happy tune when a character dies, or ...
An argument is valid if and only if it is the case that whenever the premises are all true, the conclusion must also be true. If there exists a logical interpretation where the premises are all true but the conclusion is false, the argument is invalid. Key to evaluating the quality of an argument is determining if it is valid and sound.
Non-diegetic sound is represented as coming from a source outside the story space, i.e. its source is neither visible on the screen, nor has been implied to be present in the action. Also called "non-literal sound" or "commentary sound". Examples include: Narrator's commentary; Sound effects added for dramatic effect; Mood music; Film score
An argument that is not valid is said to be "invalid". An example of a valid (and sound) argument is given by the following well-known syllogism: All men are mortal. (True) Socrates is a man. (True) Therefore, Socrates is mortal. (True) What makes this a valid argument is not that it has true premises and a true conclusion.
Deleuze writes on the multitude of movement-images that "[a] film is never made up of a single kind of image […] Nevertheless a film, at least in its most simple characteristics, always has one type of image which is dominant […] a point of view on the whole of the film […] itself a 'reading' of the whole film". [54]
There are many technical possibilities available to filmmakers. As a result, no single film will be made using every single technique. Historical circumstances, for example, limit the choices for the director. During the silent film era, filmmakers were not able to use synchronized dialogue until sound became possible in the late 1920s. [3]