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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."
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]
The films make up the shell of The Godfather Effect, but it's the connections with family that give it a center as sweet as cannoli cream." [ 4 ] The New York Journal of Books found that Santopietro "capably weaves together the memoirist elements, the history, and the analyses of the formal and thematic aspects of the films."
Neurocinema or neurocinematics is the science of how watching movies, or particular scenes from movies affect our brains, and the response the human brain gives to any given movie or scene. [1] The term neurocinema comes from neurologists who are studying which pieces of a film can have the most control over a viewer's brain. [ 2 ]
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The philosophy of film is a branch of aesthetics within the discipline of philosophy that seeks to understand the most basic questions about film. Philosophy of film has significant overlap with film theory , a branch of film studies .
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[6] The focus of this theoretical film debate was the viewer subject and its relationship to cinema. The starting point was formed by the considerations of the French theorist Jean Louis Baudry and the writings on film theory by Christian Metz, whose Le signifiant imaginaire. Psychoanalyse et cinéma (1977, dt.: The imaginary signifier.