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Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication.
The easiest stylistic device to identify is a simile, signaled by the use of the words "like" or "as". A simile is a comparison used to attract the reader's attention and describe something in descriptive terms. Example: "From up here on the fourteenth floor, my brother Charley looks like an insect scurrying among other insects." (from "Sweet ...
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. However, they are shot differently, with Cloverfield using a handheld camera for the entire movie. Films in the same genre do not ...
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.
In film studies, historical poetics is a scholarly approach to studying film, which David Bordwell outlined in his book Making Meaning (1989). [1] Poetics studies the text itself rather than its production, reception or cultural significance and it can therefore be seen as a logical first step - though expressly not the last step - in terms of understanding how a narrative text (i.e. a ...
The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre.Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France.
The term is used for works of fiction which combine the literary devices of metafiction with historical fiction.Works regarded as historiographic metafiction are also distinguished by frequent allusions to other artistic, historical and literary texts (i.e., intertextuality) in order to show the extent to which works of both literature and historiography are dependent on the history of discourse.
The Transformation of Cinema 1907–1915 (History of the American Cinema, Vol. 2) Charles Scribner's Sons, 1990. Rawlence, Christopher (1990). The Missing Reel: The Untold Story of the Lost Inventor of Moving Pictures. Charles Atheneum. ISBN 978-0689120688. Cousins, Mark. The Story of Film: A Worldwide History, New York: Thunder's Mouth press ...