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| The Work of Art in the Age of Mechanical Reproduction |
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| redemption of physical reality |
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| refugee from Germany who came to write and teach in America |
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| mentor to the "New Wave" filmmakers |
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| American historian and aesthetician who rejected "grand theory" |
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| cultural historian who committed suicide during his attempt to flee Nazi Germany |
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| founded and edited Cahiers du cinema |
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| Faked Autobiography of Howard Hughes |
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| Subject of Clifford Irving |
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| Director: Citizen Kane Touch of Evil Magnificent Ambersons F is for Fake |
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| Neoformalist Theorist. Rejects Grand Theory |
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| Cahiers Du Cinema What is Cinema? Father of French New Wave |
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| Director/Screenwriter Transcendental Style in Film |
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| Theory of Film Redemption of Physical Reality |
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| Kracauer claims that the borders of the photograph or the movie screen exerts a centrifugal force |
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| What are Kracauer's "affinities" of photography? |
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| Endlessness Flow of Time (unique to cinema) Unstaged The Fortuitous The Indeterminate |
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| Kracauer says cinema has three revealing functions |
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| Blind Spots of the Mind The Transient The Small and the Big |
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| Kracauer says that the filmmaker is more dependent on Nature "in the raw" than the painter |
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| Kracauer in general rejects filmmakers' attempts to make historical films that are authentically accurate to the time period that is depicted |
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| Walter Benjamin says that art images first originated in what circumstances? |
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| Religious and Magical Ceremonies |
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| Benjamin says that this replication process traces manually images onto a stone block |
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| According to Benjamin what medium freed the hand of the artist for the first time? |
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| In comparing the painter and the photographer Benjamin says the photographer cannot penetrate as deeply into the web of nature as the painter can. |
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| Benjamin compares the "unconscious optics" of the movie camera to the works of what famous thinker. |
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| the concept of "unconscious optics" was compared in class to the theories of photography by what theorist? |
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| Before his suicide in the late 1930s |
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| Benjamin worked in what capacity? Critic Philosopher Sociologist Translator Radio Broadcaster and Essayist |
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| Benjamin says that an object's cult value has been replaced by what value today? |
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| Andre Bazin compares the evolution of cinema to what Greek myth? |
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| Bazin says that cinema "hasn't been invented yet." |
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| Bazin and Kracauer would agree with Arnheim that the individual shot presents only a "partial illusion" of reality |
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| What are Bazin's four components of mise-en-scene? |
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| Moving Camera Real Time Long Takes Deep Focus |
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| Bazin insists that the editing process should be noticeable to the viewer. |
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| Bazin's mise-en-scene permits inter-shot montage. |
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| What filmmakers does Bazin praise as practitioners of mise-en-scene? |
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| What filmmakers does Paul Schrader cite as practitioners of the "transcendental style"? |
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| Robert Bresson Carl Dreyer Yasujiro Ozu |
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| Which is intended to shock |
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| which is the purest expression of individuality |
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| which possesses a phony respectability |
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| which advocates the overthrow or social norms and conventions |
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| which is anonymously manufactured |
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| which makes no claims whatever for artistic value or significancer |
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| Who is cited as a precedent |
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| what scholarly method is it modeled after? is it "top to bottom" |
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| Theory that attempts to explain all films under one overarching premise |
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| Is it doctrine centered or question-centered? |
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| What are Kracauer's "affinities" of photography? Which one is unique to the film medium? |
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The affinity for unstaged reality, the accentuation of the fortuitous, the suggestion of endlessness, the affinity for the indeterminate and the flow of life.
Kracauer concedes that films, even more so than photographs, are shaped not just by their realistic tendency but also by their formative principal. However, he claims that the “fundamental aesthetic principal of film demands that a specific relationship to the physical world be recognized. |
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| Define Benjamin's concept of aura |
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| The concept of “aura,” which is one of Benjamin’s most influential contributions, is best understood in terms of these tensions or oscillations. He says that “aura” is a “strange web of space and time” or “a distance as close as it can be.” The main idea is of something inaccessible and elusive, something highly valued but which is deceptive and out of reach. Aura, in this sense, is associated with the nineteenth century notions of the artwork and is thus lost, Benjamin argues, with the onset of photography. At first photographs attempted to imitate painting but very quickly and because of the nature of the technology photography took its own direction contributing to the destruction of all traditional notions of the fine arts. |
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| • What does Benjamin mean by a work's cult value. |
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| Benjamin first distinguished the cult value of the artwork (its place within a cult as a unique object often hidden from view) from its exhibition value (its worth as an object accessible to all). Technological reproduction, he argues, makes the cult value of art recede in favor of its exhibition value. |
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| • What does Benjamin mean when he says the movie actor is "in exile"? |
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| Benjamin cites Pirandello’s dramatic illustration of this “dying” actor: “The film actor feels as if in exile—exiled not only from the stage but also from himself. With a vague sense of discomfort he feels inexplicable emptiness: his body loses its corporeality, it evaporates, it is deprived of reality, life, voice, and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence… The projector will play with his shadow before the public and he himself must be content to play before the camera” (1175-76). |
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