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The impact of technology in the film industry
The art of cinema essay
The art of cinema essay
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Recommended: The impact of technology in the film industry
Response Paper: The Complete Film
The introduction of sound films in the late 1920’s was a divisive issue among those involved and interested in the emerging motion picture industry. Even though it wasn’t the sudden breakthrough it is often perceived to be, the addition of sound and voice to mainstream cinema revolutionized movie making and led to conflicting viewpoints as to whether or not this innovation was a positive progression for film as an art and as an industry.
While the addition of sound to films was generally perceived as an advancement, some critics and filmmakers believed that it takes away from the artistic essence of the medium. Among these traditionalists was Rudolph Arnheim, an art critic who thought the technological advances such as sound and color made film less artistic. He felt that film must make use of what is unique to the medium. Arnheim and other movie lovers of the era saw the coming of sound and color films as a negative step for the industry. He thought it would lead to the end of the silent era and to a pursuit of technical perfection in movies that place emphasis on “inartistic demand for the greatest possible realism” (Arnheim , 183)
In an excerpt from Film As Art titled The Complete Film, Arnheim expresses his views on the future of film. He uses the term “complete film” to describe what he will become the perfected film format that is hardly artistic expression but a mere presentation of reality. The main argument presented in this art...
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Orson Welles’ Citizen Kane is one of the first modern sound films. However, it was innovative in more than just sound, it introduced various cinematography techniques and structural ideas. With the help of Barry Fesler and Jamos D. Stewart, Welles introduced subjects such as deep focus sound, the use of voice texture, and the “lighting mix.” Moreover, he explored different camera angles, deep focus photography, elaborated on fluid continuity, and experimented with structure. Citizen Kane was produced during a rather unusual time as many studios were having financial troubles due to war in Europe. France was being invaded by the Nazis, which caused a shift from movies being shot in sound stages. Nevertheless, this politically intense period, gave rise to America’s press lord, William Randolph Hearst, who build an immense newspaper chain and published over the top stories. His ruthless behavior and troubled personal life inspired Welles to write Citizen Kane.
In final analysis, Benjamin argues that the loss of aura through technological reproducibility and capitalism is a positive thing as time progresses. The loss of authenticity might be a way of making people free and create new access for art to expand its knowledge. Cinema, which could be a radical new art form, can provide the masses with an unchanged picture of reality, while benefiting from the effects of technology. As technology is progressing, the artistic movement is also progressing and so is the way masses receive information from the film while they evaluate it as art.
In this paper, I want to argue that Fritz Lang's effective use of Cinemascope and Mise-en-scène in Moonfleet, ultimately allowed him to better express his signature stylistic elements, despite the many restrictions he had to work with throughout the production process. These restrictions included but were not limited to: a new stylistic filming process; Cinemascope, and the frayed relationship Fritz Lang was speculated to share with MGM, the production company he worked with for Moonfleet.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
I found that when I reflected on my learning process that I incorporated the most elements from constructivism than any other learning theory. I used elements from cognitive constructivism, social constructivism, and critical constructivism. I used the zone of proximal development, part of cognitive constructivism to help me learn because I watched and learned how to long board by having someone who knew how to and was able to show me and guide me throughout the process. For example, Eddie would tell me how to do it, and help me stay balanced on the board until I was comfortable enough to try on my own. An aspect of social constructivism that I used was informal learning. We practiced outside my dorm on a strip of sidewalk that I normally wouldn’t associate with education. It helped me to practice outside because it was a new environment and it was probably safer than practicing long boarding down a hallway. The last aspect of constructivism I used was thinking of the social consequences that would occur if I didn’t learn how to long board or if I fell off the long board. Since we were outside, people were constantly walking by us and could obviously see us. This means that if I fell or gave up, then other people would know and could judge me, as I know I would have judged or pitied others attempting the same task. Because I didn’t want to be judged or pitied I made myself practice until I looked semi graceful while long boarding, and didn’t fall as
Cell Phones has become engraved into many live’s today. Instant messaging allows people to portray themselves in a more acceptable way to them or others. Being behind a cell phone or computer screen gives off a sense of comfort and confidence that a person is not able to project face to face. In Sherry Turkle’s article, “ No Need to Call,” she observes the relationships that many people have with technology and how they use it in their daily lives to communicate. Turkle asserts that communicating through text messages affects the way people interact with each other when it comes to being in person. Lacking interaction with others is affecting their own personal life, however, some argue that communicating through technology is the best solution for them and that phone calls “ demands their full attention when they don’t want to give it” (375). Many say technology is a good way for them to communicate without being in person or talking on the phone; others say technology has become a problem with keeping a physical communication with others.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Fritz Lang’s M, one of the first sound films, is a German motion picutre that follows the case of a child murderer in Berlin. Because it is one of the first sound films, M is subject to new elements that enhance the viewing experience of the image of the film. “The Voice of Cinema” is a text written by Mary Anne Doane, which analyzes and provides helpful insight to sound elements in film. Conceptually, the element of voice-off and the relationship between sound and image conjointly work with one another as they both overlap in film. Doane’s essay explains these concepts in depth, therefore it is a reliable source. Two concepts that are discussed in Mary Anne Doane’s “The Voice in Cinema,” which are shown in Fritz Lang’s M are voice-offs and
Sonnenschein, David. Sound Design: the Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City, California: Michael Wiese Productions, 2001. pp.156
Organisations study organisational behaviour within by; investigating individuals, social perception, attitudes and emotions. By doing so they are able to determine whether motivation is existent and if so, is it successful. How individuals work in groups and teams is important for unity within organisations therefore it is crucial to know how people communicate amongst their group/teams and how well is the outcome when they do. Employees can become stressed which would affect them a great deal because an employee stressed would not be able to work to his/her potential. However this would be the least of the organisations worry because stress affects an employee’s psychological well-being a great deal, this is dire for both the organisation and the individual. We know how these factors fit into the reason behind studying organisational behaviour however its relevance in today’s organisations is still a question, I’m going to discuss two of the factors in more detail and relate to whether they are relevant or not in today’s organisations.
The ‘formative’ tendency refers to the filmmakers’ concern with giving structure, narrative, and order to images and sounds so as to fashion a cultural product, a composition, a work of ‘art’. All films, of course, involve some degree of this formative process. Without this exertion and imposition of the ‘artistic will’ films would not exist. But, Kracauer argues, this should not detract from what is most important: film and photography’s inherent ‘realist tendency’. This refers to the camera’s unprecedented and unrivalled capacity for capturing the ‘real’, for revealing and recording ‘physical reality’, which Kracauer aptly terms ‘camera reality.’” (Gilloch, 2007: 126-127)
The introduction of sound to film started in the 1920’s. By the 1930’s a vast majority of films were now talkies. ‘If you put a sound consistent to visual image and specifically human voice you make a “talkie”’ (Braun 1985 pg. 97). In 1926 Warner Brothers introduced sound to film but, other competing studios such as FOX, didn’t find it necessary to incorporate sound to their motion pictures production, as they were making enough money through their silent movies. Warner Brothers decided to take what was considered a risky move by adding sound to their motion picture, a risk taken, as they weren’t as successful in the silent movie department. But this risk paid off with the hit release of ‘The Jazz Singer’ in 1927. Though sound in films was then acceptable and successful it wasn’t until the 1950’s that it became feasible to the public as sound was introduced to cinema by the invention of Cinerama by Fred Waller. The Cinerama used 35mm film strip and seven channels of audio.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
There are many reasons for the importance of organizational behavior in an organization. First, most people are born and educated in organizations, acquire most of the material possessions from organizations, and die as members of organizations. In addition, we can be consumers, employees, or investors in an organization. Second, the study of organizational behavior can greatly clarify the factors that affect how managers manage. Third, the value of organizational behavior is that it isolates important aspects of the manager’s job and offers specific perspectives on the human side of management. Finally, an understanding of organizational behavior can play a vital role in managerial work.