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Superimposition is the placement of one thing over another, typically so that both are still evident. Superimpositions are often related to the mathematical procedure of superposition . Audio
A multi-exposure composite image of the October 2004 lunar eclipse taken from Hayward, California. In photography and cinematography, a multiple exposure is the superimposition of two or more exposures to create a single image, and double exposure has a corresponding meaning in respect of two images.
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]
Deleuze writes on the multitude of movement-images that "[a] film is never made up of a single kind of image […] Nevertheless a film, at least in its most simple characteristics, always has one type of image which is dominant […] a point of view on the whole of the film […] itself a 'reading' of the whole film". [54]
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s.
In the early days of film the word "photoplay" was quite commonly used for motion pictures. This illustrates how a movie can be thought of as a photographed play.Much of the production for a live-action movie is similar to that of a theatre play, with very similar contributions by actors, a theatre director/film director, producers, a set designer, lighting designer, costume designer, composer ...
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 oppositional gaze is a term coined by bell hooks in the 1992 essay The Oppositional Gaze: Black Female Spectators that refers to the power of looking. According to hooks, an oppositional gaze is a way that a Black person in a subordinate position communicates their status. hooks' essay is a work of feminist film theory that discusses the male gaze, Michel Foucault, and white feminism in ...