Film Theory Group Powerpoint Presentation

1. A DIALECTIC APPROACH TO FILM FORM
GROUP 4
Dominique Alford
Sarah Woubneh
Kelsey Fitzsimmons
Shanera Leon
Sean Kneese
Evan Klein

4. SOCIAL MISSION
“…to cause the mind to think
and to question what its
seeing”.

5. NATURE
“the difference between what is real and
what is created”.

6. A montage is a basic element of cinema and established
by Soviet film as the “nerve of cinema”
A montage is when single shots are placed one after
another and the movement of these shots are said to
create a rhythm
Known as the “epic principle” a montage is the means
of unrolling an idea with the help of single shots

7. However the author does not agree. He says that
describing a montage in this way means defining a given
object solely in relation to the nature of its external
cause
He believes a montage has more of metric relationship
rather than rhythmic
In his opinion, a montage is an idea that arises from the
collision of independent shots

8.  “We know that the phenomenon of movement in film
resides in the fact that two motionless mages of a moving
body, following one another, blend into an appearance of
motion by showing them sequentially at a required speed”
 The author claims this description of blending has the
responsibility for the popular misconception of the nature
of montage previously noted

9. CONFLICT AND MONTAGE
Manifestation can mean that the shot is not an element of montage or the
shot is a montage cell.
In this formulation there are division of
Sub-title and Shot
Shot and Montage.

10. There are 3 different phases to the homogeneous task of
expression.
1. Purely Verbal Utterance – without intonation expression in speech.
2. Gesticulatory Expression – projection of the conflict onto the whole
expressive bodily system of man.
3. Projection of the Conflict into Space – zigzag mimic expression is
propelled into the surrounding space following the same formula of
distortion.

11. TYPES OF CONFLICTS WITHIN THE FORM
CHARACTERISTIC
 Graphic conflicts
 Conflict of planes
 Conflict of volumes
 Spatial conflict
 Light conflict
 Temp conflict
 Conflict between matter and view point – spatial distortion through camera angle
 Conflict between matter and its spatial nature – optical distortion by the lens
 Conflict between and event and its temporal nature – slow and stop motion
 Conflict between the whole optical complex and different space

12. THISWILL GIVE US AN
UNDERSTANDING OFTHE FILM
PROBLEM

13. PICTORIAL SYMBOLISM
 Symbols or photographs
 The purpose of pictorial symbolism is to note important
details of film stories
 Pictorial must be learned and deciphered and depending on
the meaning behind pictures and the culture that created
the pictorial

14. EXAMPLE PHOTO

15. EMOTIONAL DYNAMIZATION
 Dynamization: Expresses psychology emotional in films that becomes
emotional dynamization
 Symbolism: symbols that show emotional effects in the movie
 Stylistic gesture
 Harp sequences (Sad Results)
 Purely dynamic (Positives Result)
 Cutting montage- cutting images from movies
http://www.slideshare.net/shaneral/powerpoint-31866780

16.  Eisenstein believed that nature’s eternal fluctuation
is dialectical- the result of the conflict and synthesis of
opposites
 Dialectic approach is an approach to film form that presents an
ideology by associating two opposing elements
 Two separate concrete objects can be associated to create a
symbol
 Unlike painting that uses abstract lines and colors, film relies
more on concrete images within the frame