![]() ![]() One needs to know some of the basic concepts of film medium like the structure-both at micro and macro levels. (1976, reprinted 2006) Personal Views: Explorations in Film (Detroit, MI: Wayne State University Press). Film analysis requires a clear understanding of film form and film content. (2006) ‘Transparency and Twist in Narrative Fiction Film’, Journal of Aesthetics and Art Criticism, 64:1, 81–95. (1986) Narration in Light: Studies in Cinematic Point of View (Baltimore, MD: Johns Hopkins University Press). Brown (ed.) Film and Television after DVD (London and New York: Routledge), pp. (2008) ‘Repeat Viewings: Television Analysis in the DVD Age’, in J. (2001) Reading Hollywood: Space and Meanings in American Film (London: Wallflower Press). (1972, reprinted 1993) Film as Film: Understanding and Judging Movies (New York: Da Capo Press). (2002) The Usual Suspects (London: BFI Publishing). Maintaining expressive coherence enables the actor to create a complex characterization and performance, to express thoughts and reveal emotions of a. (eds) (2005) Style and Meaning: Studies in the Detailed Analysis of Film (Manchester: Manchester University Press). (2001) Mise-en-scène: Film Style and Interpretation (London: Wallflower Press). (2006) ‘Cloaked Classification: The Misdirection Film and Generic Duplicity’, Journal of Film and Video, 58:4, 16–28. Perkins’, Film International, 3, 14–27.įriedman, S. (2004) ‘Fueled by Enthusiasms: Jeffrey Crouse Interviews V. This process is experimental and the keywords may be updated as the learning algorithm improves.Ĭrouse, J. These findings provide support for the idea that greater emotion coherence promotes well-being and also shed light on factors that are associated with the. However, coherence was not associated with reappraisal. These keywords were added by machine and not by the authors. Coherence was highest during the most emotionally intense film and among individuals who reported lower expressive suppression. Thus, the extent to which coherence is achieved within this narrative structure becomes a potential measure of the twist film’s value, concurrently shaping our sense of its aesthetic achievement. More extreme examples include using close-ups that have been lifted from other action but that seem to work best in the new context. Twist films become a point of interest in such debates precisely because their narrative structures present a discernible challenge to themes of coherence, credibility and unity as they seek to rupture the defining order of their fictional worlds expressly for the dramatic impact of the storytelling volte-face. My contention here is that, for a number of expressive critics, the notion of coherence has come to represent a practical means of evaluating the nature of a film’s achievements and, in turn, establish the quality of those achievements. In this chapter I seek to explore the idea of value in relation to the contemporary ‘twist’ film, drawing upon the theme of coherence as a key critical concept. ![]()
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