(Baudry, the Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema 707). Baudry explains that in reality, the spectator is actually convinced to assume this due to the effective application of the cinematic apparatus, thus enforcing a standardized spectatorial basis. Furthermore, Baudry later also mentioned that the cinematic apparatus and its ideological connotations created focus upon the ability of the cinema to symbolize the psychic desire of the spectator (Baudry, Ideological Effects of the Basic Cinematographic Apparatus 45). The works of Jean-Louis Baudry are echoed by the analysis conducted by Daniel Dayan. Developing on the suggestions of Baudry, Dayan wrote about the theory suggested by French psychoanalyst and writer Jacques Lacan that implicated that what runs on the screen, is a construction by the film itself, viewed by the spectator as an object of desire. This analysis suggested that these constructions appear to offer the spectator identification with an image from which to watch the film (usually that of a lead-character). In reality, this identification or...
By employing such methods, Hollywood has been successful in forming a standardized basis of spectatorship needed to promote and grow the cinema.
Bollywood has many recognizable elements of style; "The distinctive features of popular Hindi cinema -- song and dance, melodrama, lavish production values, emphasis upon stars and spectacle -- are common to films made in Southern industries as well," (Ganti 2004 p 3). There are many differences that create a discrepancy between the traditional Hollywood style and that seen in Hindi films. Bollywood films tend to add more emotion to
Cinema The emergence of cinema as a medium at the fin de siecle was the result of technological innovations resulted from the Industrial Revolution, but it was also in response to a growing demand from entertainment consumers who were desperate for more exciting alternatives. Developing quickly from its early silent forms with accompanying piano and on-screen narration to increasingly sophisticated "talkies" that changed the way people thought about things, the
Shaft flashes a police badge to criminals in the first part of the movie, establishing his role as the "good" guy in the film, although he is from the same "underworld" as the rest of the black criminals in the movie. This film, as many others, show that the black hero, as Stainfield states can gain "dominion over the urban space of the street" which "holds out the promise
Travis develops hatred toward those who have spurned him, including Betsy, the New York senator for whom Betsy campaigns, and Sport, Iris' pimp. Travis' mounting anger is conveyed through a series of scenes in which he transforms his physique into the sculpted frame of a hired killer; he performs countless exercises, including sit-ups, pull ups, and weight lifting. He engages in target practice in order to improve his marksmanship,
Art Cinema and Theatre of Absurd In "The Art of Cinema as a Mode of Film Practice," David Bordwell provides a definition of what he believes constitutes art cinema in order to define the style as an artistic movement. In "The Theatre of the Absurd," Martin Esslin provides similar arguments about theatre as Bordwell does about film. Bordwell and Esslin both provide an analysis of the elements that distinguish art cinema
Godard believed that cinema should be an extension of criticism, a concept that he is able to achieve in Le Mepris through his criticism of traditional Hollywood cinema and the restrictions imposed on directors who were struggling to define their style and voice their interpretation of stories set before them. Godard is able to inject his personal interpretation of Moravia's novel by writing the script of the film and
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