film theory


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film theory

[′film ‚thē·ə·rē]
(physics)
A theory of the transfer of material or heat across a phase boundary, where one or both of the phases are flowing fluids, the main controlling factor being resistance to heat conduction or mass diffusion through a relatively stagnant film of the fluid next to the surface. Also known as boundary-layer theory.
References in periodicals archive ?
Their topics include the performance of racialized bodies and Brecht's operatic anthropology, consciousness in Brechtian acting: defamiliarizing the self, Brecht and film theory: how Brecht's theory and method impacted the development of screen theory, and philosophizing with Brecht and Gunter Anders: what is wrong with moralism.
This interdisciplinary PhD project draws on the fields of sensory neuroscience, in particular, the experimental study of eye movements, and Film Studies, notably cognitive film theory (Bordwell 1989; Carroll 2008; Persson 2003), and here in particular the study of visual perception, narrative comprehension and affective response in relation to film editing.
Parallel to the curated film programme, SFP offers workshops, talks and discussions on both practical filmmaking skills such as screenwriting, cinematography and editing and more theoretical subjects such as critical film theory and film criticism.
Ahrarnia holds a degree in experimental and documentary film theory and practice from the Northern Media School, Sheffield Hallam University in the UK.
In her essay, Vera Cuntz-Leng draws on feminist film theory to explore the gaze politics and male objectification operating in the Harry Potter movies.
This includes screenings of documentaries, experimental films and animated productions at Mirage City Cinemas and other venues in Sharjah, as well as talks about screenwriting, cinematography, editing, film theory and film criticism.
If its opening texts read as works of film theory in the vein of Jean Epstein or Maya Deren, offering an interrogation of cinema as a technology of vision with implications far beyond Brakhage's own practice, later pieces delve into other modes of writing: There are descriptions of the filmmaker's working method and home life, reflections on film history and modernist poetry, snippets from correspondence, and fragments of film scripts.
A grab bag of theoretical approaches is incorporated into this study which are enumerated in a programmatic statement: "the analyses below employ data from experimental linguistics in combination with Oral Theory, historical inquiry, the Jakobsonian theory of linguistic functions, theories of Old English metre, translation theory, Bakhtinian genre theory, modern rhetorical theories, and even film theory" (29).
This distinction, however, has been largely overlooked in studies of Demy and the New Wave, especially in the context of film theory. Anne E.
A more refined grasp of film theory and its importance to the interpretation of movies.
Yet, while a reading with Ranciere does get us out of the trap of modernist aesthetics that rely on the transparency of the medium and the authority of the author, in which auteur theory is heavily anchored, his film theory is not without its own restrictions.
Since my interest here is in Her's proximity to classical uses of sound and spectators' psychic registering of the off-screen voice, a foray into psychoanalytic film theory is an appropriate direction to take.