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The sociology of film deals with the sociological analysis of film. [1] According to a university class in it, the field includes "Contemporary cinema as a culture clue to social change; an introduction to the social forces involved in film-making in the United States and other cultures; the influence of films on mass and select audiences."
Various types of audiovisual materials range from film strips, microforms, slides, projected opaque materials, tape recordings, and flashcards. In the current digital world, audiovisual aids have grown exponentially with multimedia such as educational DVDs, PowerPoint, television educational series, YouTube, and other online materials.
Wal-Mart: The High Cost of Low Price is a 2005 documentary film by director Robert Greenwald and Brave New Films about the American multinational corporation and retail conglomerate Walmart. [2] The film presents a negative picture of Walmart's business practices through interviews with former employees, small business owners, and footage of ...
Film analysis is the process by which a film is analyzed in terms of mise-en-scène, cinematography, sound, and editing. One way of analyzing films is by shot-by-shot analysis, though that is typically used only for small clips or scenes. Film analysis is closely connected to film theory. Authors suggest various approaches to film analysis.
Chicago critic Roger Ebert (right) with director Russ Meyer. Film criticism is the analysis and evaluation of films and the film medium. In general, film criticism can be divided into two categories: Academic criticism by film scholars, who study the composition of film theory and publish their findings and essays in books and journals, and general journalistic criticism that appears regularly ...
Motion is the optical change created by moving objects, people, and shadows; movement is that change created by camera motion or gradual lens change. Presumably, the film industry has capitalized on the results of previous psychological research that shows motion and the onset of motion capture our attention. [19]
A key argument of transnational cinema is the necessity for a redefinition, or even refutation, of the concept of a national cinema.National identity has been posited as an 'imaginary community' that in reality is formed of many separate and fragmented communities defined more by social class, economic class, sexuality, gender, generation, religion, ethnicity, political belief and fashion ...
Current research is discovering that individuals suffering from social isolation can employ television to create what is termed a parasocial or faux relationship with characters from their favorite television shows and movies as a way of deflecting feelings of loneliness and social deprivation. [1]