Term
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Definition
| Andrew, Dudley [Phenomenology]; When we clear a space, we are to leave behind anything we're carrying with us, to dive completely into the world of the film. Seeing the film without "secondary schemas." |
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Term
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Definition
Bela Balazs,
Jean-Louis Baudrey,
Irwin Panofsky |
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Term
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Definition
Daniel Dayan,
Andre Bazin,
Nick Browne,
Eisenstein,
Pudovkin,
Christian Metz |
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Term
| "hidden reason" and "reason on the run" |
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Definition
Andrew, Dudley [Phenomenology]
"The 'reason' or cause-to-be of the film emerges when a consciousness encounters the film." |
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Term
| "Experience is dearer and more trustworthy than schemas." |
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Definition
Andrew, Dudley [Phenomenology]
referring to "second-level systems" |
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Term
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Definition
Andrew, Dudley [Phenomenology]
"systems of categories and anticipations that shape what we experience and block our perception of what is going on. |
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Term
| "trace" and "congealed" pre-formulation |
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Definition
Andrew, Dudley [Phenomenology]
I'm lost. You may have to find your own definition. |
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Term
| "realms of pre- and post- formulation" |
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Definition
Andrew, Dudley [Phenomenology]
pre formulation - the place wherein sensory data congeal into 'something that matters'
post-formulation - the place wherein 'something that matters' is experienced as 'mattering' |
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Term
| "polyphonic play of features" |
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Definition
Bela Balazs, [Film Medium Image and Sound]
"the appearance of the same face of contradictory expressions...a variety of feelings, passions and thoughts are are synthesized in the play of the features |
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Term
| "A good close up can....." |
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Definition
Bela Balazs, [Film Medium Image and Sound]
"A good close up can radiate a tender human attitude in the contemplation of hidden things, a delicate solicitude, a gentle bending over the intimacies of life-in-the-miniature, a warm sensibility." |
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Term
"Ideological Effects of the Basic Cinematographic Apparatus"
Who wrote it, about what? |
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Definition
Jean-Louis Baudry (early) Film Medium: Image and Sound
The sausage effect of the IMR machine. |
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Term
| knowledge effect and reality effect in Film Medium |
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Definition
Jean-Louis Baudry (early) Film Medium: Image and Sound
reality effect - "when any representation does not invite awareness of how it was constructed."
knowledge effect - "that which helps us see the (generally hidden) ideological function of social apparatuses or institution hidden behind the "reality effect." |
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Term
| "sausage machine" and film |
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Definition
Jean-Louis Baudry (early) Film Medium: Image and Sound
Just as a sausage machine might take sundry meats and makes sausage appear that to "grow" out of the meat grinder, Baudry argues that film takes the objects it captures and makes it seem like they just "grow" into their representation on screen, hiding the ideology that guides their direction.
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Term
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Definition
Jean-Louis Baudry (early) Film Medium: Image and Sound
Film creates an imaginary viewer in us – we perceive on a certain level that we are in an imaginary unity with the narrator, which transcends the content of the film, making us "transcendental" |
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Term
| cinema is a "psychic apparatus of substitution" |
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Definition
Jean-Louis Baudry (early) Film Medium: Image and Sound
We (the audience) feel powerful as a transcendental subject, and we assume that the source of our power is the ideology that our narrator-primary caregiver is feeding us. |
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Term
| deep focus, long shots, composition-in-depth, multiple planes of action |
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Definition
Andre Bazin (Film Language)
Deep focus shots records the temporal and spatial duration and the unity of events distorted and fragmented by classical editing. |
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Term
| "[The perfect film form would] permit everything to be said without chopping the world up into little fragments" |
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Definition
Andre Bazin (Film Language)
By chopping up the world into fragments like that, the filmmaker iposes an interpretation of events as he or she presents them to the spectator. |
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Term
| "the moral order of the narrative" |
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Definition
Nick Browne - Film Language
A director (or the narrator in the text) can forces/leads/invites the viewer (the spectator-in-the-text) via camera angle, movement, and editing to believe that certain characters have correct values, although IMR codes may show that character from inferior points of view. |
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Term
| double structure or viewer/viewed |
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Definition
Nick Browne - Film Language
"Identification asks us as spectators to be two places at once, where the camera is and `with' the depicted person--thus it is a double structure of viewer/viewed. . .We can identify with a character and share her ‘point of view’ even if the logic of the framing and selection of shots of the sequence denies that she has a view or place within the society that the mise-en-scene depicts. . . |
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