good mornings so todays topic is majour trends
in film theory so because of the relative
newness of the film medium compared with other
art forms thomas edisons kineto scope ah here
peephole machines ware first opened to the
public in new york city only in eighteen ninety
four we are looking at the beginnings of film
theory and how this new medium called cinema
is started we have a also refer to thomas
edisons and his invention
kineto scope ah peephole ok which is one of
the earliest modes of the moving picture we
are talking about the year eighteen ninety
four and how it all begin we are also talking
about the lumia brothers who first projected
there shot ah actualities to ah paying audience
audience who paid money to watch films in
a café in paris in eighteen ninety five so
film theory and criticism are dependent on
a limited number of measure text and the lines
of there disperse can easily be tries up to
the point when ah the focal theory of structure
release and co structure releasing head profane
effect on cultural history in general from
that point on film theory
and criticism qualiferated at ah very rapid
rate at a very rapid speed and film generalist
became as much a place for um discussion debits
arguments on the issues of art and esthetics
uh as journals work for as say your literature
of film in other words acquired the statues
ah which was earlier accorded only to great
works of literature and film journals and
film historical played a measure role in according
this statues two films that is much of discuss
on cinema from his start his concerned with
fictional narcotic films ah an empties that
parallels that the waste popularity of such
works compared
with a more limited and specialized appeal
of the documentary and more experimental and
avagad film most of the early theorizations
show a clear ah leaning gravitation toward
formalist possibility of cinema and certain
formalism and ah certain aspects of formalism
um defiantly under payment now montage theory
expounded by the great russian film makers
in the nineteen twenties um for example liyo
kuleshov or leave kuleshov ah from russia
he begins to publish as says in nineteen seventeen
ah and many books published in the nineteen
twenties ah they ah talk about the practices
of american film makers
especially film makers such as dw griffiths
and kuleshov was started to understand the
practices of film making by the great film
makers of the time so there is term call the
kuleshov on effect it as passed into cine
cinematic language to describe what for kuleshov
was the inherent inherent magic of the film
medium it self that is which is creation of
meanings and significant and emotional impact
by relating and juxtapose individual shorts
see we are talking about montage theory one
of the earliest um efforts to ah lend a kind
of a ah intellectual touch to film statics
that idea was that how ah seens are created
by relating and juxtapose individual shorts
how meanings are created by juxtapose individual
shots a resulting in a context that was not
inherent in any of the single piece of film
that was a product of the ending it self so
kuleshov student would of skin writing to
books too many scripts that together why to
ah become the book film technique when he
was working on his picture mother you know
mother as authored by max zine workings so
when the movie was being picturize when the
move was filmed in nineteen twenties would
of in started writing to books on films studies
so in this book he exclusive his own variation
of montage what einstein um ins einstein refer
to as linkage in which shots are un optically
linked together so that they continuously
and naturally
flow along with the films narrative lines
this is a contribution of kuleshov but he
also pushes theoretically this theoretic all
discuss further with its discussion of film
mix space and time now we are talking about
temporal special aspects of cinema and kuleshov
a discussion of um detentions created by the
editing process it self and distinct from
any space and time known in external reality
so these are the ah ah contribution made by
kuleshov and pudovkin apart from pudovkin
ah concept of linkage editing there is einsteins
ah collision theory of montai in which the
dramatic uh disposition of shots produce ah
producers
kind of attraction to one and another that
make the significant of meaning of the synthesis
ah more clear to the viewer ah where is kuleshov
had demonstrated how to juxtapose shorts could
create up to produce context not inherent
in the individual images ah ins einstein going
to beyond his mentor in both is writings and
also in his films to show that the two images
could be actually synthesized in the minority
every were to create a single totality and
perfection even to create a level of thought
organization beyond the recitalist images
in the know coming to another key theories
andre bazins of in easy of andre bazins of
return in france in the lay nineteen forties
and fifties ah the great vokis called
what is cinema volume one and part volume
two ah so we have an impressive blend of realism
ah an discussion realist cretinism and theory
of realism his cinema actually realistic thats
the ah discussion that the debit all about
the base of the base of found kuleshovs and
ins einsteins impasses on montage antithetical
to realistic possibilities of cinema creating
instead and illusory and illusion of reality
that is product of introduction of the shorts
and not a reflection world which is actually
filmed on photographed ah base apprise the
american directors such as orison welles and
william wells for emphasizing the individual
in edits self and what each revels of reality
not exactly through relation ship of images
so an emphasis largely absent in cinema sense
the silent film of ah earlier film makers
earlier hollywood film maker now through the
techniques of deep focus and along take according
to base on orison welles and william wells
presenting space and time as continues and
whole as the appear in external reality so
that we viewers are force to immerse them
self in the images and select for them self
what to see famous seen from orison welles
citizen came where the mother science the
document of ah the child coming into a inherents
ah the child is happily shown plying away
and we watch that the child playing away through
the window paint
ok but ah this was called ah the deep focus
technique where all characters are extremely
ah and very clearly um visible to the viewers
and it it depends on the viewers what to select
unlike the montage so one of the founders
of the french film journal the base on influence
the cretinism of ah people like godthaab and
fall and shareable all and ah people like
yoke rivet who rote for the journal and subsequently
they also becoming extremely int influential
members of the entire french new way cinema
based on as emphases on the individual image
is analysis of the single motion picture in
the context of film genre and his appreciation
of the personal and the unick
in the achievement of each film artist also
had an impact on the new way films ah the
critics where to direct but it is basically
base on should and very insightful appreciation
of cinema ah and his ability to respond to
the new enses of each work and his very discerning
eye for a style and form and the use of detailed
and techniques as the source for ah his concepts
that has serviced as a model future writers
of film appreciation and film cretinism i
would like to draw your attention ah to ah
passage from andre bazins what is cinema i
will read out this court for you if the plastic
arts were put under psychoanalysis the practice
of embalming the dead might turn out to be
a fundamental factor in their creation
the process might reveal that at the origin
of painting and sculpture there lies a money
complex the religion of ancient egypt aimed
against death saw survival as depending on
the continued existence of the corporeal body
thus by providing a defense against the passage
of time it satisfied a basic psychological
need in man for death is but the victory of
time to preserve artificially his bodily appearance
is to victory of time to preserve artificially
his bodily appearance is to snatch it from
the flow of time to stow it away neatly so
to speak in the hold of life it was natural
therefore to keep up appearances in the face
of the reality of death by preserving flesh
and bone the first egyptian statue then was
a mummy tanned and personified in sodium but
pyramids and labyrinthine corridors offered
no certain guarantee against ultimate pillage
and look what cinema did to this so along
with bezune ah there is another important
names sires fied creacore who is also recognized
as one of the ah measure advocates of real
cinema ah he rote a famous theoretical text
called theory of film the redumption physical
reality which are published in nineteen sixty
ah and the direction he takes that the pixel
films that most ah full fill the potential
of the full mic medium are those that least
distract or remove the audience from the world
as we know it those films also have the capacity
to make us rediscover the real world to expand
ah vision of it now coming to something called
genre theory and criticism ah which made considerable
reveal describe during the same period of
time
and which seeks to recognized the very popular
nature of film especially as a product of
the hoyllwood studio system all the individual
directors might be sighted for there ability
and certain genres um of an you know creating
there or inscribing the personally stamp with
in the tradition must genres a theory and
criticism was based on the connection between
the works there audiences and attempted to
explain social and cultural needs of the viewer
the genre theory and criticism what it self
the most probable or where the most profitable
probably most profitable location for adopting
the new emphases on structuralism which was
having such ah deep impact on cultural criticism
during the sixties and seventies ah
so hollywood offered a large number of similar
films with um very well know elements in each
on which made these works the inevitable source
for a studies in um cinema and structuralist
approach to cinema and another binary opposition
and its structure excluded in the these studies
and um they they make seem to two supervention
to suggest the deep structure that people
like um for instance claude lorius cross the
great anthropologist had ah proposed in mix
from primitive culture or in his treatment
of oedipus myth but then work called orison
west ah written by some one called gym criticize
in nineteen sixty nine and he a ware the writer
is able to
saw a basic structural antithetic um kind
of contract in the western in the western
genre and also show the individual contributions
of a specific directors with in this context
then ah there is a another great theorist
peter wellon and his discussions of hollywood
directors howard hox and jone ford in valence
extremely inflectional book those of few who
are interested in doing some kind of resher
research in film studies should know this
book is called science and meanings in the
cinema published in nineteen sixty nine and
he also peter wellon also user genre in atrial
structuralist approach to develop thematically
structures and tensions in the films of jone
ford and howard hox the most important
early work in context of semiotics was by
christian mets and his book film language
a semiotics of cinema ah which was originally
published in the french language now mets
measure theory is to demonstrated the way
in which film signify meaning through seniority
could especially specialize could ah unic
to the cinema such as the arrangement of shots
possible in a narrative sequence um there
is also something called second semiotics
and where the mean idea of the second semiotics
is identified and then ah expo the ideological
structure and course of capitalist society
evident or even implied in commercial narrative
cinema and two tie the ideological focus in
in with zak lakan psychoanalytic theory about
the child early development stages especially
in the mineral stage to which the regress
on some level when view in the images on in
the screen recreated with in a send the imaginary
ah and where a feeling of wildness and self
which is first developed in as in as when
we view are refection in a mirror during are
early childhood but now is actually developed
by a films ideology so using zak lakan mirror
is stage theory and applying into cinema now
there is another important ah film theories
yuo lue bodum who rote effect
ah or ideological effects of the basic cinematic
appraisers um this was the first of the several
essays on the subject that work to influence
christian mets to further ah his further development
and ah to popularized these ideas in the text
that he wrote between nineteen seventy three
and nineteen seventy five collectively they
are called imaginary signifire now i um coming
back to yok lisans his concept of sucher you
know what is sucher to stitch up something
so his he gives us the concept of sucher which
film make a sense film critics it film critics
also a film theories also applied so his concept
or sucher earlier introduce to film theory
in hodags essay less sucher ok yok paired
hodag
ah this concept ah appears in easy last sucher
ah and it offers much debit on the recreation
of the imaginary and how the subject is position
ah position on the screen um and how impose
on the unity on such techniques of naurity
films as point of view editings so whose point
of are we ah suppose to follow so we have
to understand these theory are sucher ah of
mirror stage and points of view match cutting
and high lining matching and on the way how
such techniques importunity and ah perhaps
give a subjectivity how you know there is
the concept of camera subjectivity subjectivism
so how these things operate now um
from here we know want to formulas film theory
and criticism which was also a measure trend
which is still a measure trend in understanding
an appreciating films so famous film theory
and criticism has also been in regress and
influential school ah it has had ah great
impact on the teaching of the film studies
so early text in this area offer a straight
forward critical approach in which the various
external types of women in film are traised
and analysis as products of patriarchal society
and culture but feminist criticism his also
becomes very much involved with the uh ideas
of luis altuzar and yok lakhan and semitic
approaches of co structuralist film theory
in his attempt to understand ah section differentiation
with in the narrative and textile could of
the film as well as with in the viewing
process it self now one of the major essays
of ah this school comes by ah laura mulvey
whose easy visual pleasure narrative cinema
published in nineteen seventy five describes
the images of women in the hollywood cinema
as the passive object of the active male gays
so these concept like gays and objectification
of women ok you can tares all these back to
the great feminist writers of the series and
laura mulvey is one of the most ah influential
theorist of this trend so ah the idea is that
pleasure of the male gains is threaten by
the womens representation as a signifier of
castration mulvey describes two unconscious
responses of the male to elevate his fear
of casperation
the first of a process of sadistic voyeurism
which denigrates the women and the second
a process of um is scopophilia and fitishising
women which over value the womens physical
appearance in response to this focus on male
pleasure and desire mulvey her self in after
thoughts on visual pleasure narrative cinema
ah which is inspired by ah dual in the son
it is a movie um ah directed by kingwida and
mulvey wrote this easy on visual pleasure
and narrative cinema um on king widos dual
in the son and also these another critic called
kaja silverman who wrote this embodying in
the female voice published in nineteen eighty
four there was another film ah feminist critic
film feminist a merry in uh
merry and dowel ah who an her essay film and
the macerated theorizing the female spectator
um the all these theories silver man and mulvey
and merry and dowel the all considered from
a psycho analytic perspective the pressures
and problems brought upon the female viewer
by films structured for the male gays and
forbidding any positive identification with
the female characters so one response to the
psycho analytic marks its approach has been
a greater imposes on film form and technique
and response is noted for its reliance on
literary concepts and the examination of what
takes place on the screen in the context of
the viewers reaction ok so ah now lets talk
about ah another we trend which is narratalogy
that includes and important dowse of
viewer response analysis the important theories
of this movement is uh he he is not exactly
a film theorist but ah a narratologist edward
branigan and he writes ah in his book ah point
of view in the cinema and theory of narration
and subjectivity in classical film ah which
often uses the vocabulary on concepts of literary
narratology to discuss film narrative text
but does sort to active a detailed analysis
of way film techniques create various types
of subjectivity on this screen and subjective
responses this viewer now ah since the nineteen
sixties have been the concepts and studies
of post modernism that term it self has been
defiantly ah or it has been defined quit um
on
in differently a variably but persistent elements
are the denial of any meaning full theories
concerning life reality or art fragmentation
lack of cohesion in both cultural and individual
identity those are the major features of post
modernism again the sub version of time and
history and the nomination of the world by
media and information technology which we
have created ah and where we have created
a reality of science measure per ourselves
so most significant in this discussion as
been guy divorce femin and the society of
this spectical ah and also the works by john
bonham reali specially the simulations which
was published in nineteen eighty three and
then again a very feminal text ah i can emphasize
for those who are interested in research cinema
and film studies
this author is very important frederic jaimsun
and his post modernism or the cultural logic
of the late capitalism so the concepts of
post modernism had been use full so far in
the analysis of a number of films and in understanding
certain tendencies in modern cinema so um
we have to understand jaimsun concept past
his the invitation and accumulation of the
filmic codes of the past it has been it has
been specially useful and this shift was precipitated
most notably by a short influential eassay
by alexander as through published in ah um
la camera stylo oh ok it it was called a worth
of a new avagad la camera stylo published
in nineteen sixty eight so what came be known
as the athey theory was later imported to
north america in nineteen sixties via the
critical writings of andrew sarris and has
ah and his re optical of hollywood cinema
which now coming to post colonial theories
so an important demonstration of the relation
ah between post colonial studies and film
theory is demonstrated by the works of france
or frantz fanon whose ideas including ah discussion
of films spectatorship and issues of race
in his works called black skin white mass
published in nineteen fifty four ah two and
ah again we have a works like in unthinking
um euro euro centrism multi culturisum and
the media um by ella shohat and robert stem
where these are writers are give that euro
centrism and visions the worlds from a single
previlist point ah again there is a book ah
mystifying movies
facts and falsies in contemporary film theory
and philosophical problems of classical film
theory ah crit ah the great writer noel carol
defines theory is strictly as a coherent and
enzymatic set of statements that can both
explain um event and force event when ah carel
uses the definition to justify the critic
of much of the film theory canon preferring
a model ah analytic theory from philosophy
as the bases of his work including theorizing
the moving images and a philosophy of mass
art carlos manga significant cluster of film
theoretician who are antagonist to the dominence
of what is frequently called slap theory in
cinemas studies which is based on the theories
of sulfur lacan althusser and bards so therefore
we get the term slap
so carrel credited with ah dev david bordwell
um came ah co came up with a co edited volume
called poss theory restructuring um reconstructing
film studies where various authors critic
the grand theories that had come to dominate
cinema studies through the nineteen sixties
and seventies ah most of which ah inclusive
ciniotiocs and cultural and psycho analytic
studies so ah boradwell in his book or in
his eassay other contemporary film studies
attempts to map out the incoherence ah trendiness
and general lack of solid intellectual grounding
of much recent theory ah boradwells approach
provides a temp let for analyzing the form
in which events in a film are presented including
plot fusion and story which is also called
fibula
while cognitivism addresses the cinematic
representation in the ah in the um mental
activities of the spectators so let me draw
your attention to some of the selected readings
here please take a look at the bibliography
the book by dudley andrew andre bazin the
art of watching films by joseph boggs leo
braudy film theory and criticism this is a
very important text david cook a history of
narrative films pam cook the cinema book and
off cause you have deleuze the cinema one
and cinema two
thank you very much
