I’m working on a film question and need a sample draft to help me understand better.
This is the prompt I have attached the readings, lecture notes and will attach the class recordings that will help you answer this prompt 🙂
Prompt: As we come to the end of our study of 20th century film theory, what aspects of it seem most intriguing and/or most useful to you? Think in terms of the individual theorists or of groups of theorists who are connected by their aesthetic concerns, their political concerns, or their historical situations. While your response should refer to theorists and their work with some specificity, this essay is a personal one aimed at concluding our work this module.
Please use all the feedback as usual that I have given you in the past 500-word essay questions i need help with also in terms of writing style here is a classmate’s notes: Delleuze’s idea around the relationship of time bring up an important topic that I did not really think about much. Time is composed of images added through montage and represents an indirect flow of time, something that the filmmaker can created at its leisure just by using images that don’t even have to be correlated with one another. These indeed are false continuities of movement that happen which are seen by our brains as just normal images coming one after the other. I wonder how comes that our minds just find this so normal to comprehend?
Manovich’s idea of the super-genre makes a whole lot sense creating this a wide-spread genre for all fictional film in general. The difference that he makes between the celluloid film and digital is striking and a bit shocking, yet so true. Digitalized images are all seen as just pixels by the computer program, where he states that this footage loses its privileged indexical relationship to profilmic reality. I do not know if I agree with this statement because nowadays everything is in digital format, yet we still use some of these sections, footage, images as indexical in the media especially. Not everything is reconstructed in Premiere Pro or After Effects, but I understand why because of this digital era, it is harder to trust the images. I do on the other hand like that these modern times are a materialized avant-garde through the power of the computer. Are then most contemporary films created in the studios and with the use of computers avant-garde films? What would make that clear distinction in the world that we live in right now?
As the prompt mentions this is the last essay and it is personal i hope you take back all the feeback i have gotten for my previous responses to write this last essay the prompt mentions ” what aspects of it seem most intriguing and/or most useful to you? Think in terms of the individual theorists or of groups of theorists who are connected by their aesthetic concerns, their political concerns, or their historical situations. While your response should refer to theorists and their work with some specificity, this essay is a personal one aimed at concluding our work this module.” Therefore you can go back to the previous readings for the previous 500 word film essay questions i have posted before if you want to use those theorists i hope you write this essay well. Below i have attached the class recording links of this week to help you and also the material.
class recording 1: https://drive.google.com/file/d/1KXgYjt8bM2yUUh6qM…
class recording 2: https://drive.google.com/file/d/1tAeXcqu1f6e_KuLKl…3 attachmentsSlide 1 of 3
UNFORMATTED ATTACHMENT PREVIEW
Digital Cinema and the Philosophical Turn Week VIIB • Bergsonian film theory of Gilles Deleuze. • Lev Manovich and the transition of moving image media from celluloid to digital. Conclusions Film Theory: Cinema and the City • Think back to the city films that launched the course, with their central status as both representative of and “training ground” for life in the modern city, 1920s-1950s: Man with a Movie Camera, Berlin— Symphony of a Great City, Industrial Britain, The Bicycle Thief. • We conclude the course with images of multiple cities seen from the outside, both literally and metaphysically. • New York was seen from the POV of the self-exiled filmmaker immersed in her Belgian mother’s words in News from Home, 1977. Ruined cities in Armenia became images for marking the passing of time for the diaspora in Calendar, 1993. The End of
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