Since art is seen as a platform to relive past events, Film can be used to showcase such previous events. In this light, a film genre such as epic serves the purpose of ensuring that enthusiasts interested in reliving stories of the past are entertained.
There is also a group of film enthusiasts whose interest is on information regarding various topical issues. As such, they can derive their entertainment from documentaries. Movies, on the other hand, serves the needs of film enthusiasts who are accustomed to attending cinemas to watch the latest blockbusters movies. As part of appreciating film as a form of art, various stakeholders in the film industry have made it a practice to appreciate the best films on an annual basis.
Among the notable film festivals across the globe that recognise film artists, producers, and other persons or organisations playing a significant role in the industry include:.
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Film Art: An Introduction. Christopher Nolan: A Labyrinth of Linkages pdf online. Planet Hong Kong, second edition pdf online. The Way Hollywood Tells It pdf online.
Poetics of Cinema pdf online. Figures Traced In Light. Ozu and the Poetics of Cinema pdf online. Hou Hsiao-hsien: A new video lecture!
How Motion Pictures Became the Movies. Constructive editing in Pickpocket : A video essay. Rex Stout: Logomachizing. Lessons with Bazin: Six Paths to a Poetics. Murder Culture: Adventures in s Suspense. Mad Detective : Doubling Down. Nordisk and the Tableau Aesthetic. Re Discovering Charles Dekeukeleire. Doing Film History. Anatomy of the Action Picture. Film and the Historical Return. Studying Cinema. On the History of Film Style. Second edition, Chicago: University of Chicago Press, Christopher Nolan: A Labyrinth of Linkages.
First edition, Planet Hong Kong. Berkeley: University of California Press, Textbook written with Kristin Thompson and Jeff Smith. Film History: An Introduction. Textbook written with Kristin Thompson first-named author. A historian can treat a movie as a document of its time and place. But most of the time we assume that cinema is an art of some sort.
Not necessarily high art. Popular songs are undeniably music, and best-selling novels are instances of literature. Similarly, megaplex movies are as much a part of the art of film as are the most esoteric experiments. Whether those movies, or the experiments, are good cinema is another story, but cinema they remain.
So, at least, is our position in Film Art: An Introduction. We draw our examples from documentaries, animated films, avant-garde films, mainstream entertainment vehicles, and films aimed at narrower audiences. People have tended to think of cinema as an art by means of rough analogies to the other arts. After all, film came along at a point when virtually all the other arts had been around for milennia.
Let me say off the bat that I think that film is a synthetic medium, in the sense that all these features and more can be found in it. Movies were moving photographs. Naturally, this conception of cinema leads us to treat documentary as the central mode of filmmaking.
On film we can see the event as it occurred and judge it as if we were in the same room. In addition, consider Jackie Chan. His stunts are astonishing partly because we know he really did them and the camera photographed them. By recording the world in all its immediacy, giving us slices of actual space and true duration, film puts us in a position to discover our link to primordial experience. Other arts rely on conventions, Bazin thought, but cinema goes beyond convention to reacquaint us with the concrete reality that surrounds us but that we seldom notice.
Moreover, you can argue that in treating cinema as a photographic art the filmmaker surrenders a degree of control over what we see and how we see it. Bazin made this claim about the Italian neorealists and Jean Renoir: creation becomes a matter of an existential collaboration between humans and the concrete world around us.
The blades reverse again when the train has gone. This detail might not be visible on video.
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