Filmtheorie

These analyses are devoted to the innovative transmedial narratological concept of 'perturbatory narration' concerning intentionally disturbing effects such as surprise, confusion, doubt or disappointment. For this heuristic concept, applicable to a specific type of complex narratives, narratology has not yet found an appropriate classification. The new model enables to typifie moments of disruption like deception, paradox and empuzzlement.

Digitale Doppelgänger und animierte Hollywoodstars, Fahrten durch Nervenbahnen und Hautporen, unmögliche Kameraperspektiven und Bildräume, die sich unendlich fortsetzen - in aktuellen Spielfilmen sind gefilmte Bildanteile und Computeranimationen oft ununterscheidbar miteinander verschmolzen. Eine neue Kategorie von 'hybriden Bewegungsbildern' ist entstanden, die eine Bildästhetik jenseits des Effekt-Kinos hervorgebracht hat. Ihre Inszenierungsstrategien unterwandern unsere Vorstellung realistischer Darstellungen - sie beeinflussen unsere Wahrnehmung nachhaltig und prägen unsere Sicht auf die Welt mit. Das Buch verbindet die Darstellung der technischen Voraussetzungen dieser neuen Bildwelten mit einer eingehenden Untersuchung ihrer ästhetischen Implikationen. Es schließt damit eine Lücke in der wissenschaftlichen Auseinandersetzung mit der Digitalisierung der Bildproduktion.

This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and their topographies. In doing so it makes a significant contribution to the literature in the growing field of cartographic cinema and urban cinematics, by charting the many trajectories and points of contact between film and its topographical context. Under the influence of new technologies, the opening and the availability of previously unexplored archives but also the contribution of new scholars with novel approaches in addition to new work by experienced academics, Cinematic Urban Geographies demonstrates how we can reread the cinematic past with a view to construct the urban present and anticipate its future.

How do contemporary films depict Buddhists and Buddhism? What aspects of the Buddhist tradition are these films keeping from our view? By repeatedly romanticizing the meditating monk, what kinds of Buddhisms and Buddhists are missing in these films and why?Silver Screen Buddha is the first book to explore the intersecting representations of Buddhism, race, and gender in contemporary films. Sharon A. Suh examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century - from images of Shangri-La in Frank Capra's 1937 Lost Horizon to Kim Ki-Duk's 2003 international box office success Spring, Summer, Fall, Winter...and Spring. The book helps readers see that representations of Buddhism in Asia and in the West are fraught with political, gendered, and racist undertones. Silver Screen Buddha draws significant attention to ordinary lay Buddhism, a form of the tradition given little play in popular film. By uncovering the differences between a fictionalized, commodified, and exoticized Buddhism, Silver Screen Buddha brings to light expressions of the tradition that highlight laity and women, on the one hand, and Asian and Asian Americans, on the other. Suh engages in a re-visioning of Buddhism that expands the popular understanding of the tradition, moving from the dominance of meditating monks to the everyday world of raced, gendered, and embodied lay Buddhists.

For well over a century cinema has exerted enormous influence, yet many questions regarding its fascination remain unanswered. Films work so well because the viewers tend to unconsciously identify with the actors/actresses. The desire to become another, substituting identity by identification, can be traced to the illusion that the filmic heroes/heroines are immortal - identifying with them raises the possibility of gaining 'deathlessness.' Viewers can, without real life risks, experiment with the existential drafts presented; the power of imagination is mobilized. Based on a multidisciplinary approach (semiotics, psychoanalysis, cultural anthropology, plus a healthy dose of film history), this book presents prolegomena of a philosophy of cinema.

Bachelorarbeit aus dem Jahr 2015 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,3, Hochschule Mittweida (FH) (Medien), Sprache: Deutsch, Abstract: In dieser Arbeit wird das Filmgenre Science Fiction vorgestellt, dessen Geschichte bzw. Entwicklung skizziert und anhand diverser Filmbeispiele auf seine besonderen Merkmale untersucht. Die Arbeit beschäftigt sich damit, ob und wie Science Fiction durch Handlungsmotive und formale Stilmittel definierbar ist. Im zweiten Teil wendet sie diese Ergebnisse an und analysiert, in welchem Ausmaß der Film "Star Trek Into Darkness" als ein klassisches Science Fiction Werk zu betrachten ist.Zudem liefert die Arbeit einen Blick über das "Star Trek" Franchise im Allgemeinen, ermittelt dessen stilprägende filmische Merkmale und erarbeitet, inwiefern es sich bei "Star Trek Into Darkness" aus filmtheoretischer Sicht um einen typischen "Star Trek" Film handelt.

When we read a novel or watch a film, we become Peeping Toms. Spying on fictional characters, we can enjoy observing their private lives and most intimate secrets while safe in the knowledge that they are totally unaware of us. The Reader as Peeping Tom: Nonreciprocal Gazing in Narrative Fiction and Film, by Jeremy Hawthorn, examines the implications of this nonreciprocal relationship by focusing on works in which the relationships between characters are also nonreciprocal. Hawthorn focuses on four novelists and three filmmakers whose works are concerned with surveillance, spying, and voyeurism: Hawthorne, Dickens, Melville, Henry James, Hitchcock, Michael Powell, and Francis Ford Coppola. Hawthorn suggests that while some literary and film narratives use the reader's or viewer's sense of all-seeing invulnerability to underwrite the various systems of control and surveillance that are depicted in the work, others associate such forms of nonreciprocal observation with impotence and impoverishment and thus critique political systems that legitimize surveillance. Hawthorn concludes that critics have underestimated the extent to which reader's or viewer's sense of disempowerment adds meaning to the experience of fiction and film and may encourage acceptance or criticism of spying and surveillance in the real world. The book questions benign views of the reader's or spectator's role as passive observer, and offers original and exciting readings of some key narrative texts.

Wag the Dog is a film that became a media event and a cultural icon because it inadvertently short-circuited the distance that is supposed to separate reality and fiction. The film's narration challenges the established boundaries between the fiction and nonfiction tradition, as Barry Levinson, the director, embeds his interest in documentary filmmaking and complicates the issue of narrative agency in the way he frames the story. The examination of the historical and social context in which it was produced, exhibited and received worldwide enables the author to illuminate a series of changes in the way a fiction film reflects and interacts with reality, urging us to reconsider some of our central and long-standing concepts or even paradigms in film theory. Eleftheria Thanouli provides new insights into a series of issues from both classical and contemporary film theory, like the conceptual and ontological stakes in the use of digital technology, the impact of mass media on public memory and the political role of cinema in a globalized and conglomerated world.

‘World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. The films analysed encompass a wide geographical base, and have been drawn from a diverse array of cultural traditions.

Golden Age Movie Actors as Writers 'Hollywood Lives' is about the movies in the Golden Age (1930-1950). It reviews some 175 star autobiographies distilling out of them the actor's accounts of the Communist Witch Hunt, racial prejudice, studio pressures, the glamour of movie stardom, the bosses, fellow actors and much else. This is the first ever book about movie actors as writers and contains many surprises. Graham Bannock, a British author now in his seventies, has been watching movies and reading about them since he was in his teens. He has authored or co-authored some 30 books, mostly on economics and business.

A selection of essays written by a leading film critic, this 1996 volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory.

Cinemulacrum, a conflation of "cinema," the art of the Hollywood film, and simulacrum, a reality counterfeit, was coined to designate contemporary media culture. This book examines the fall—and rise—of classical Hollywood and the hegemony of television in a media dyad of movies and television.

Masterarbeit aus dem Jahr 2011 im Fachbereich Soziale Arbeit / Sozialarbeit, Note: 1,0, Fachhochschule Regensburg, Sprache: Deutsch, Abstract: Gegenstand der hier vorliegenden Arbeit soll sein, eine theoretische sowie praktikable Darstellung des Ansatzes Kritischer Sozialer Kulturarbeit [KSK] nach den theoretischen Vorlagen Theodor W. Adornos und den Werken des Regisseurs David Lynch zu leisten. Der Ansatz soll folglich Inhalte der Sozialen Kulturarbeit mit jenen der Kritischen The-orie [KT] sowie Werken Lynchs verbinden. Hierfür sollen sowohl Berührungspunkte (z.B. Ästhetik und Gesellschaftskritik) wie auch Unterschiede aufgezeigt werden. Das zugrunde liegende Medium des hier dargestellten und erarbeiteten Konzeptes ist - be-zogen vor allem auf David Lynch - der Film.Zunächst soll jedoch der Ansatz der KSK allgemein dargestellt und begründet werden, was eine grundlegende Erläuterung zentraler Begrifflichkeiten wie Soziale Kulturarbeit und Kulturkritik voraussetzt. Weiter werden anschließend die relevanten, theoretischen Überlegungen von Theodor W. Adorno erläutert, kritisch reflektiert, auf ihre Aktualität hin geprüft und ggf. an die somit neuen Anforderungen und Gegebenheiten angepasst. Hierzu sei bereits an früher Stelle angemerkt, dass viele der in dieser Master-Thesis aufgeführten Begriffe - wie beispielsweise jene der Kulturindustrie, der Kulturkritik und andere theoretische Ausführungen der Frankfurter Schule - zumindest in Teilen einer an die Gegenwart angepassten Neubeurteilung bedürfen, da sie heute teilweise umstritten sind, bzw. als veraltet gelten. Die Frage, ob die Rhetorik von Adorno, Ben-jamin und Horkheimer etwa noch zeitgemäß und für moderne Kulturarbeit anwendbar ist, scheint daher durchaus berechtigt. Dennoch sei bereits in den hier einleitenden Ge-danken angemerkt, dass sowohl Kulturkritik wie auch Kulturindustrie gerade in Zeiten der Ökonomisierung sämtlicher Schutzbereiche der Kultur durchaus die Chance einer Renaissance eingeräumt werden sollte.Zusätzlich zu Adornos theoretischer Grundlage wurde als methodisches Element der Film und im Genaueren - als Inspirations- und Ideenquelle - das Werk des amerikani-schen Regisseurs David Lynch ausgewählt. Wieso gerade Lynch sich für KSK eignet, wird daher ebenfalls beleuchtet. Sowohl was die Behandlung der Frage nach der Ästhe-tik wie auch der Gesellschafts- bis Kulturkritik anbelangt, kann vermutet werden, dass sich sowohl in Lynchs Werken wie auch in Adornos Theorie durchaus Parallelen finden lassen, die für den hier zu erarbeitenden Ansatz wertvoll sind.[...]

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