Film Theory
The canonical model of the purely cinematic (Eisenstein, Kracauer, Bazin) starts disappearing in contemporary theory. Most film theorists since the 1970s (Baudry, Wollen, Mulvey, Stam/Shohat, or Jameson, etc.) Explain in different ways how the textual (content and form, the film text itself) and institutional have merged together. Choose two theorists for whom the institutional issues are integrally connected to the textual ones, and explain their insights about reading cinema.

Laura Mulvey's piece, "Visual Pleasure and Narrative Cinema" is divided into three sections. The first section is the introduction, the next section is called "Pleasure in Looking: Fascination with the Human Form." The third section is called "Woman as Image, Man as Bearer of the Look," which is followed by a summary of the entire work. Mulvey makes numerous assertions in her work, but one of her primary intentions of "Visual Pleasure and Narrative Cinema" is to call serious, critical…...

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References:

Diawara, M. 1993. Noir by Noirs: Towards a New Realism in Black Cinema. African-American Review, 27(4), 525 -- 537.

Hooks, B. 1991. Micheaux: Celebrating Blackness. Black American Literature Forum: Black Film Issue, 25(2), 351 -- 360.

Hooks, B. 1992. The Oppositional Gaze: Black Female Spectators. Black Looks: Race and Representation. South End Press, Boston.

Mulvey, L. 2004. Beyond the Gaze: Recent Approaches to Film Feminisms -- Special Issue. Signs, 30(1), 1286 -- 000.

His stance is also one of superiority as he presents himself as the victim of his own vision and artistic expression. In this context, the generic pronoun "they" symbolizes Craig's detachment from the world around him as he feels superior which he believes, is what causes his isolation.
Craig's wife, Lotte, is perhaps the most radically changed as a result of traveling through the portal. She becomes convinced that she is a transsexual, and consequently, feels the only way she can be true to herself is to assume a new sexual identity, i.e. that of a man. However Lotte abandons her desire of sexual reassignment when she becomes aware that by starting a relationship with Maxine, she can in fact assume a different gender role simply by falling in love with Maxine. Maxine, on the other hand, embarks on a sexual relationship with Malkovich so she can be with Lotte.…...

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Weeks, Jeffrey. 2003. The Invention of Sexuality. In Sexuality, 11-28. New York: Routledge.

Dragunoiu, Dana. "Psychoanalysis, Film Theory and the Case of Being John Malkovich." Film Criticism 26.2 (2001): 1-7

Gauntlett, David. 2002. Michel Foucault. In Media, Gender, and Identity: An Introduction, 115-134. London: Routledge.

film Sarah and James by Nikowa Namate offers an opportunity to reflect on the deeper themes in light of several film theories including Freudian theory, Queer theory, and an understanding of realism, naturalism, and kitchen sink drama. This essay will offer a nuanced and thorough analysis of my role in the filmmaking experience. In Sarah and James, I played the role of James, one of the title characters. As the title of the film suggests, though, James is not the only protagonist. The interplay between James and his sister Sarah is the foundation of the film, which addresses the way mental illness impacts intimate relationships. Moreover, I was in charge of lighting during the production of Sarah and James and will discuss elements related to lighting during the production of the film. This essay will hinge on the application of realism, naturalism, Freudian theory, and queer theory to my…...

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References

Brians, Paul. "Realism and Naturalism." 13 March, 1998. Retrieved online:  http://public.wsu.edu/~brians/hum_303/naturalism.html 

Cash, Justin. "Kitchen Sink Drama." The Drama Teacher. Retrieved online:  http://www.thedramateacher.com/kitchen-sink-drama/ 

Dietrich, Richard Farr. British and Irish Drama 1890 to 1950: A Critical History. Retrieved online:  http://chuma.cas.usf.edu/~dietrich/britishdrama1.htm#Realism 

Hanson, Ellis. "Introduction: Out Takes." Out Takes. Duke University Press, 1999.

Not only does Nichols provide a good context for the many paradoxes that can confront film studies with his insightful and thoughtful introduction, but he also shows how sharing approaches and methods can help to stimulate a lot of the best writing regarding film. In addition he shows many of the common problems that are seen and deals with the contradictions that appear. Like the first volume of the anthology, this second volume also provides smaller introductions so that each essay and piece of information can be more easily understood. It also allows a reader to peruse the book and find the pertinent piece of information that he or she needs at that point in time, which can be very valuable, especially for a novice to the film industry trying to find information quickly. Having the smaller introductions before each piece also help to showcase each item within the context…...

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Bibliography

Nichols, Bill (1976) Movies and Methods: Vol. I. University of California Press.

Nichols, Bill (1985) Movies and Methods: Vol. II. University of California Press.

Conclusion

It is hard to deny that Sophie's Choice indeed has the trifecta of what I believe good movie-making needs: superb acting, sound, and cinematography, as it was nominated excellence in acting (won by Meryl Streep), cinematography, and music by the Academy of Motion Picture Arts and Sciences' annual Academy Awards. hile I have seen many movies, few have touched me the way Sophie's Choice has. I can remember the seamless acting, the haunting music, and the visual beauty of the film itself. In viewing Sophie's Choice, it's easy to see that a great film is so much more than commercial success or box office revenue; a great film is compelling. It grabs hold of you and doesn't let go. In looking for movies that resonate with the viewer, one cannot come any closer to perfection than Sophie's Choice, one of the most compelling films of all time, a gripping drama…...

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Works Cited

Adler, Stella and Kissel, Howard. The Art of Acting. 2000. New York, NY: Applause

Theater and Cinema Books. Print.

Barsam, Richard and Monahan, Dave. Looking at Movies: 3rd Edition. 2009. New

York, NY: W.W. Norton and Company, Inc. Print.

Film Awards
The film industry produces experience goods for consumer enjoyment and consumption, and substantively relies on consumer differentiation for the economic success of movies. Moviegoers appear to differentiate films primarily on the basis of genre, starring actors, exposure to promotion, recommendations from other moviegoers and film critics, and -- for the dedicated film buffs and connoisseurs -- directors, cinematographers, and even screenwriters associated with the film production (Albert 1998, De Vany 2004, Eliashberg and Shugan 1997, Hand 2002, Krider and Weinberg 1998, Nelson et al. 2001, avid 1999, Smith and Smith 1986, Wallace, Steigermann and Holbrook 1993). Access to information about films is related to the resources and networks that moviegoers enjoy, and on the attention that films garner, as expressed by the media and through social networks. Information about films is accessed by moviegoers from many sources: 1) The genre of the film; 2) the rating of the film…...

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References

Albert, S 1998 "Movie stars and the distribution of financially successful fitness in the motion picture industry." Journal of Cultural Economics, 22(4), 249-270.

Chang, B-H and Ki, E-J 2005, Devising a practical model for predicting theatrical movie success: Focusing on experience good property. Journal of Media Economics, 18(4), 247-260.

Chen, Andrew. "Forecasting Gross Revenues at the Movie Box Office" Department of Economics, University of Washington June 2002. 20 July 2006  http://www.econ.washington.edu/user/startz/OldCourses/482_SP2002_studentPapers/econ-482-finalpaper%20Chen.pdf 

Decanay, JC, King-Calvo, MT, Santos, AA 2010, Information cascades as social learning: The case of box-office ticket sales in the Philippines. Proceedings of the European Conference on Knowledge Management, 2010 p.334-344.

This lack of trust further leads to dysfunctional conflict.
Dysfunctional conflict refers to a destructive and unhealthy disagreement among people. In a team, this could lead to a removal of focus from the task at hand. This occurs in the scene, where all the members of the team allow their emotion of fear to control their behavior. Rather than seeking solutions, they appear to look for scapegoats upon whom to blame their situation. The scene ends with the potential to resolve the conflict.

The scene focuses very much upon the conflict aspect of communication breakdown, rather than clearly illustrating the positive aspects of the team involved. There appears to be no basis of trust among the team members, which leads to an escalation of dysfunctional conflict. In order to better illustrate the full range of aspects involved in the concepts, the scene might have included a sense of basic trust before…...

Humanity seems to unravel altogether in Pi: Faith in Chaos, both written and direct by Darren Aronofsky. Max is a brilliant but socially crippled young mathematician who has built a supercomputer and possibly unlocked the mathematical secrets of the universe, explaining everything from the stock market to God. The mathematical precision with which the world would operate if this is true casts a great deal of doubt on the existence of free will. At the same time, however, the film is asking questions about reality, and whether or not Max's discovery can truly be used in any practical way. Ultimately, both questions are rendered moot by Max's destruction of the mathematical portion of his brain. Though this seems to be an act of free will, it could also be the natural and inevitable next step in the algorithm of his life following his discovery of the sacred 216-digit number. Regardless,…...

Effectively, then, the insurgency is leftist, and in the cases of these films, the left wins, either by proxy or by morality and the world is once again a better place.
EFEENCES and WOKS CONSULTED

Braudy, L. And M. Cohen, eds., (2009). Film Theory and Criticism. Oxford University

Press.

Burgoyne, . (2010). Film Nation: Hollywood Looks at U.S. History. University of Minnesota Press.

Hayward, S. (2006). Cinema Studies: The Key Concepts. outledge.

Santas, C. (2007). The Epic in Film: From Myth to Blockbuster. owman and Littlefield.

TAILES and PEVIEWS

Brown, Todd. (2007). "Footage from Taras Bulba." Twitch. Cited in:

http://twitchfilm.net/news/2007/11/first-footage-from-russian-epic-taras-bulba-positively-stuns.php

"Cossack Brotherhood." (1962). Taras Bulba. Cited in:

http://www.tcm.com/video/videoPlayer/?cid=253615&titleId=17795

"Lion of the Desert." (1981). Film Clip. Cited in:

http://www.imdb.com/title/tt0081059/

"Michael Collins," (1986). Cited in:

http://www.imdb.com/title/tt0117039/

"Taras Bulba." (1962). Cited in:

http://www.imdb.com/title/tt0056556/plotsummary

"The Patriot." (1998). Cited in: http://www.imdb.com/title/tt0120786/

"The Patriot." (1998) Film Clips. Cited in:

http://www.tcm.com/tcmdb/title.jsp?stid=336714&contentTypeId=130&category=trailer

"V for Vendetta." (2005). Film Clips. Cited in:

http://www.imdb.com/title/tt0434409/

It is also interesting to note that over time, the focus of the insurgency theme changes. In the examples…...

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REFERENCES and WORKS CONSULTED

Braudy, L. And M. Cohen, eds., (2009). Film Theory and Criticism. Oxford University

Press.

Burgoyne, R. (2010). Film Nation: Hollywood Looks at U.S. History. University of Minnesota Press.

Hayward, S. (2006). Cinema Studies: The Key Concepts. Routledge.

French New Wave/Auteur Theory and Tarantino
Quentin Tarantino: An Auteur

French New Wave cinema is a cinematic movement of the 1950s and 1960s established by French filmmakers and film critics who founded the Cahiers du Cinema that felt cinema had become too commercialized, formulaic, and unoriginal. This critical contention eventually led to the development of the auteur theory. Throughout various essays and critiques, Cahiers du Cinema critics sought to revolutionize cinema and analyze the function of writer in relationship to director. Cahiers du Cinema critics further argued that directors should be the driving vehicle behind a film and not writers. The criterion for an auteur, as defined by film critics in France and the United States, is still evident to this day. Through his unique writing and directing style, and through the use of mise-en-scene in his most recent film Inglourious asterds,[footnoteRef:1] Quentin Tarantino has demonstrated he is a contemporary auteur and…...

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Bibliography

Astruc, Alexandre. "The Birth of a New Avant-Garde: Le Camera-Stylo." L'Ecran Francais, No.

144, (March 30, 1948). transl. In "The New Wave: Critical Landmarks," by Peter Graham (Secker & Waurburg, 1968). pp. 17-23.

"Creator: Quentin Tarantino." TV Tropes.

 http://tvtropes.org/pmwiki/pmwiki.php/Creator/QuentinTarantino?from=Main.QuentinTarantino .

Taking this into consideration, formalist films always try to come up with the idea that are merely personal imaginations, and events in the film are practically impossible in real life situations. Due to this, the style used in formalist films is usually very high. Its editing is sharp for the purpose of reminding the audience that it is merely a work of an artist. Formalist films always have a deeper and symbolic meaning which only the film elite can understand it. These are audiences who have adequate knowledge of evaluating a film in order to get its meaning.
eferences

Andrew, Dudley. The Major Film Theories: An Introduction. London: Oxford University Press, 1976. Print.

Braudy, L & Cohen, M. " Eisenstein, Sergei" The Dramaturgy of Film Form (The Dialectical Approach to Film Form). Film Theory and Criticism: Introductory eadings. By. New York: Oxford UP, 2009. 24-40. Print.

Braudy, L & Cohen, M." Pudovkin, Vsevolod."…...

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References

Andrew, Dudley. The Major Film Theories: An Introduction. London: Oxford University Press, 1976. Print.

Braudy, L & Cohen, M. " Eisenstein, Sergei" The Dramaturgy of Film Form (The Dialectical Approach to Film Form). Film Theory and Criticism: Introductory Readings. By. New York: Oxford UP, 2009. 24-40. Print.

Braudy, L & Cohen, M." Pudovkin, Vsevolod." Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 2009. 7-12. Print.

Braudy, L & Cohen, M. " Balasz, Bela" Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 2009. 273-81. Print.

The action in Bicycle Thieves is set in postwar Rome, but the fact that people are generally experiencing difficulties in earning enough money to provide for their families makes it easier for viewers to relate to the economic situation present in prewar Italy. One can also consider that the overall soviet montage film theory school emerged as a result of the Bolshevik revolution whereas Italian realism was generated by the Great Depression.

The Soviet Montage film theory school at times is inclined to put across subjectivity, given that it emerged in a period when communism thrived and virtually everything related to the old tsarist regime was criticized. Eisenstein himself was obviously interested in reproducing the terror installed by Russia's imperial administration through having his viewers compare the masses with the factory workers in Strike while the royal family is likened to the shareholders in charge of handling the rebellion.

Even with the…...

sound technologies and sound design in Film
Sound in films

Experiments in Early Age

Developments

Crucial innovations

Commercialization of sound cinema: U.S., Europe, and Japan

Sound Design

Unified sound in film production

Sound designers in Cinematography

Sound Recording Technologies

History of Sound Recording Technology

Film sound technology

Modern Digital Technology

History of sound in films

Developments

Sound Design

Sound Recording Technologies

The film industry is a significant beneficiary of performing arts. The liberal arts combined with latest techniques and advancements experienced a number of stages. The introduction of films and sound in films was a significant development of its times. The introduction of first film along with sound was a unique event and it revolutionized the industry in such a way that it influenced every individual related to the industry to start thinking on creative and innovative grounds for improvements. The stages of films can be identified as silent films shown in theaters and they were narrated live. However the introduction of sound in films was…...

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Bibliography:

Alten, SR 2008, Audio In Media, Thomson Wadsworth, USA.

Altman, R 2004, Silent Film Sound, Columbia University Press, USA.

Ballou, G 2008, Handbook for sound engineers, Focal Press, USA.

Beck, J & Grajeda, T 2008, Lowering the boom: critical studies in film sound, University of Illinois Press.

A perfect example of this is located in Chapter three. Chapter three opens with the camera zooming steadily in on a window. The shot then cuts to a shot of streetlights, establishing the time of day as early morning. Even though simply not enough of the room is exhibited to demonstrate what exactly exists within it, the shot following the streetlight is of a woman in bed, strongly suggesting it was her bedroom that the camera was stealthily creeping up to in order to peep through the lace curtains unbeknownst to the sleeping woman.

This voyeurism keeps going even as the aforementioned woman gets up, washes and dresses in various sequences interspersed in chapter three. Vertov's camera cuts from the sleeping woman to the painting on the wall of an old man, located and leering as if he too were watching her sleep.

This voyeurism is further emphasized by the subsequent cut…...

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Bibliography

Barnouw, Erik (1993) Documentary: A History of the Non-Fiction Film. 2nd ed. New York: Oxford University Press.

Barsam, Richard M (1973) Nonfiction Film: A Critical History. Bloomington: Indiana University Press.

Beller, Jonathan L (1999) Dziga Vertov and the Film of Money, Boundary 2: An International Journal of Literature and Culture. 26 (3). Duke University Press.

Guynn, William (1990) A Cinema of Nonfiction. Rutherford: Fairleigh Dickinson University Press.

Essay Topic Examples
1. The Evolution of Color Symbolism in Cinema: From Black and White to Full Spectrum:
    Explore the transition of symbols conveyed through color as the film industry has moved from black and white films to color cinema. Examine the different meanings that various colors evoke in film viewers, how directors use color to enhance storytelling, and what specific colors have come to symbolize in different film genres.

2. Archetypes and Symbols in Heroic Narratives: A Study of the Monomyth in Film:
    Discuss the use of symbolism in the portrayal of the hero's journey, or monomyth, across different films. Look at how reoccurring symbols such as the mentor, threshold guardian, and the talisman, are used across cultures and time periods, demonstrating universal storytelling elements within the cinematic world.

3. The Significance of Setting as a Symbolic Element in Film:
    Analyze how specific settings in film (urban landscapes, wilderness, domestic spaces, etc.) are utilized to…...

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Primary Sources

Metz, Christian. \"The Imaginary Signifier: Psychoanalysis and the Cinema.\" Indiana University Press, 1982.

Deleuze, Gilles. \"Cinema 1: The Movement-Image.\" University of Minnesota Press, 1986.

Leone, Giuseppe. \"The Semiotics of Clowns and Clowning: Rituals of Transgression and the Theory of Laughter.\" Bloomsbury Academic, 2015.

Eisenstein, Sergei. \"Film Form: Essays in Film Theory.\" Harcourt, Brace and World, 1949.

Buckland, Warren. \"Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster.\" Continuum, 2006.

I. Introduction
A. Briefly introduce "The Truman Show" as a 1998 satirical film directed by Peter Weir.
B. Provide context about the film's themes and its protagonist, Truman Burbank, played by Jim Carrey.
C. Present the aim of the essay – to analyze the film's key elements and messages.

II. Plot Summary
A. Describe the setup: Truman lives in a fabricated reality that is broadcasted 24/7 as a TV show.
B. Outline Truman's journey, starting from his suspicions about his surroundings.
C. Highlight key plot points, such as Truman's determination to break free from the false reality.

III.....