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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.
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.
Also called a background actor. An actor or performer in a film who appears in a non-speaking or non-singing capacity, usually briefly and in the background, without any particular characterization or direct plot relevance, such that viewers are not intended to identify with or consciously focus on the character at all.
Stylistics, a branch of applied linguistics, is the study and interpretation of texts of all types, but particularly literary texts, and spoken language with regard to their linguistic and tonal style, where style is the particular variety of language used by different individuals in different situations and settings.
Symbolic effects taken over from conventional literary and artistic tradition continued to make some appearances in films during these years. In D. W. Griffith's The Avenging Conscience (1914), the title "The birth of the evil thought" precedes a series of three shots of the protagonist looking at a spider, and ants eating an insect. Symbolist ...
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 ...
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 ...
The appeal of the Fotoplayer to theatre owners was the fact that it took no major musical skill to operate. The Fotoplayer would play the piano and pipe organ mechanically using an electric motor, an air pump, and piano rolls while the user of the Fotoplayer would follow the onscreen action while pulling cords, pushing buttons, and pressing pedals to produce relatable sounds to what was ...