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Film Studies
Film Studies 1020E

Film Theorists David Bordwell – Classical Hollywood Narration Anarrative can be studied in terms of representation and semantics (refer to notes on semiotics) or by its’ structure. The classic Hollywood narrative presents psychologically defined individuals attempting to resolve a clear-cut problem. Fabula = cause and effect. Classical syuzhet often has two plot lines involving two different spheres of the narrative. By manipulating space and time the classical narration makes the fabula world consistent and comprehensive. In classical narration, style instructs the viewer to construct a coherent understanding of time and space. Classical narration is logical. Eisenstein – DialecticApproach To Film Form (Formalism) Montage is a collision of interdependent singular shots – shots that can even be opposite of one another – to create or enhance a particular emotion within an individual. The conventional descriptiveness of film form leads for a possibility of filmic reasoning. While conventional film directs emotions, this suggests an opportunity to direct the entire thought process as well. Cinema as a synthesis of art and science. Shows how conflicting or unrelated images can be linked together to generate emotional, intellectual and political understanding of real events. Involves directing spectator’s experience through the organization of real events to making meaning through the use of chain shots. Kuleshov effect – man + soup = hunger; man + baby = happy Thesis +Antithesis = Synthesis of both that is most truthful Andre Bazin – French Realism Helped establish cahiers du cinema (journal), emerged some of the most renowned directors from French new Wave (Godard). Realism is the imitation of reality in the arts, film’s ability to refer to the world through images that resemble and record the presence of
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