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Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
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.
Film style categorizes films based on the techniques used in the making of the film, such as cinematography or lighting. Two films may be from the same genre, but may well look different as a result of the film style. For example, Independence Day and Cloverfield are both sci-fi, action films about the possible end of the world.
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]
The actual material of the score depends on several different variables that factor into how a composer may write - for instance, the emotion the composer is trying to convey, the nature of the character on screen, the scenery and geography of the set, along with multiple more different variables. A composition could consist of different ...
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 ...
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for 'assembly' or 'editing'). It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.
A character in the film is perceived and perceives – and then will act. However, there is an interval between perception and action: affects. Bodies are affected by the world, and then act upon the world. There will be thus be types of shots which take affects as their subject matter. The most familiar type of affective shot is of the face.