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| present real objects, persons, and events (from sensational news to everyday routines) |
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| concentrate on or "experiment with" unconventional forms and actions (from abstract image and sound patterns to strange visionary worlds found in dreams or hallucinations) |
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| Intellectual and Imaginative Insight |
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| an enlarging of what we can know, feel, and see |
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| survival depends on a public culture that promotes learning as a crucial part of the film experience |
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| the factual descriptions of actual events, persons, or places, rather than thier fictional or invented re-creation |
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| the organizaton of films in a variety of ways that eschews or de-emphasizes stories and narratives, while employing such other organizational forms as lists, repetitions, or contrasts as the the organizational structure |
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| provided that crucial dimension whereby newsreels, documentaries, and propaganda films could add educative or social commentary to accompany their images |
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| smaller, lightweight camers that can be carried by the operator rather than mounted on a tripod |
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| Public and Private Institutional Support |
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| include the various cine-clubs and numerous public, or state-run, television networks in more recent decades |
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| show or describe experiences according to a certain arrangement, logic, or order |
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| present experiences according to inventive and creative organizations that commonly defy realistic or rational logic |
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| accumulates a catalog of images or sounds throughout the course of the film |
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| organizes its presentation as a series of contrasts ro oppositions meant to indicate the different points of view on its subject |
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| presents places, objects, individuals, or experiences through a pattern or development with a specific non-narrative logic or structure |
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| link or associate different objects, images, events, or individuals in order to generate a new perception, emotion, or idea |
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| isolate discrete objects or singular images that can generate ro be assigned abstract meanings, either meanings already given those objects or images by a culture or ones created by the film itself |
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| Structural Forms and Abstract Forms |
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| foreground patterns, rhythms, movements, shapes, or colors that are abstracted from real actions and objects or created independently from recognizable figures to depict a more purely formal art |
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| shape those formal practices of the films according to certain perspectives and attitudes |
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| Interrogative or Analytical Positions |
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| rhetorically structure a movie either in terms of an implicit or explicit question-and-answer format or by other techniques that identify a subject as under investigation |
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| Expressive or Persuasice Positions |
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| articulate a perspective either as the expression of emotions, beliefs, or some other personal or social position or as an attempt to persuade an audience to feel a certain way |
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| examine and present both familiar and unfamiliar peoples, cultures, and social activities from around the world |
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| aimed to explore human suffering and struggle or to celebrate the activities of common men and women |
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| more observational and less confrontational than the French practice - American version of cinema verite |
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| Ethnographic Documentaries |
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| aim to reveal cultures and peoples in the most authentic terms, without imposing the filmmaker's interpretations |
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various aims, assumptions, and audiences * a self-conscious reflection on how human senses and consciousness work *an exploration of and experimentation with film forms and techniques |
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| confronted middle-class assumptions about normalcy and often reconstructed the world to resemble a dream driven by dark desires |
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| Postwar Experimental Cinema |
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| about the intricacies fo the human mind or the eccentricities of particular communities |
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| use documentary techniques that paresent the reenactment of presumably true or real events |
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| a narrative organization exists but it is subjected to the more abstract or imaginative shapes and experiences associated with experimental and avant-garde films |
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