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Robert Stam (born October 29, 1941) is an American film theorist working on film semiotics. He is a professor at New York University , where he teaches about French New Wave filmmakers. [ 1 ] Stam has published widely on French literature , comparative literature , and on film topics such as film history and film theory .
This work highlighted film semiotics as a new tool in art criticism. The book provided an overview of previous thinkers and defined terms critical to semiotic film theory. “This book is intended as a didactic introduction to the vocabulary of the field, not as a series of interventions in film theory” [1] Part One The Origins of Semiotics
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 theory seeks to systematize film as a medium. It may use Critical theory , Formalism , Marxism , philosophy of language , or Lacanian psychoanalysis , while film criticism analyzes and examines a specific film (though larger generalizations can still be deduced from criticism).
Film studies as an academic discipline emerged in the 20th century, decades after the invention of motion pictures.Rather than focusing on the technical aspects of film production, film studies are concentrated on film theory, which approaches film critically as an art, and the writing of film historiography.
العربية; Azərbaycanca; تۆرکجه; বাংলা; Башҡортса; Беларуская; Беларуская (тарашкевіца) Български
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 .
The affection-image film is therefore a film which foregrounds emotions: desires, wants, needs. These emotions arise from images of faces which communicate the unfilmable intensive effects of the characters. [33] This type of affection-image corresponds to the sign of solid perception of the perception-image and is called the "icon". [33]