An essay has been defined in a variety of ways. One definition is a "prose composition with a focused subject of discussion" or a "long, systematic discourse".
Incidentally, it has also been said that the translation of a play to cinema involves the conversion of a dramatic work into a narrative work. But we have to believe that a dramatic work is not narrative before we can agree with this view. One difference between cinema and dramatic performance is the possibility of editing the film after the performance by the actors.
Read all the hottest movie and tv news. Get all the latest updates on your favorite movies - from new releases to timeless classics, get the scoop on Moviefone. A film essay (or "cinematic essay") consists of the evolution of a theme or an idea rather than a plot per se, or the film literally being a cinematic accompaniment to a narrator reading an essay. An essay has been defined in a variety of ways. One definition is a "prose composition with a focused subject of discussion" or a "long, systematic discourse". It .
Editing makes cinema similar to the Cinematic features essay as a written work, and to prose narrative, rather than to the play as theatre see the previous section.
Another difference between the two media centres round the sets. Films sets can either be studio sets or sets on location. In drama, it is virtually impossible to have sets on location. If a play is performed on location, then the set usually does not change; if it does, and we therefore have Cinematic features essay than one set, these sets are usually not as varied as those found in the cinema, or even those found in a play performed in a theatre meant for dramatic performances.
Constricting sets which do not move rapidly from one scene to another and are not as varied as those normally found in the cinema are one problem sometimes faced in plays which have been made into films. One of the problems of cinematic narrative is the question of authorship. The essential question here is: The concept of the author in film can in fact be shared amongst the writer, producer, director, actors, editor, etc.
A cinematic work goes through several stages, thus making the question of who is responsible for the film a complicated one see sections below. In fact, due to several parties being responsible for the film, it may be helpful for us to think of the authors, instead of a single author, of any one film.
For discussions on the problem of authorship in the cinema, see the essays in the book edited by Caughie But there are various interventions on the script before its final production as a film: Although we can question thisthere is interesting evidence to show that a film director, more so than the other persons involved in the making of a film, is at least partially comparable to the author of a literary work such as a novel or film.
One can, for example, relate a particular director's films to each other in terms of tone, ideas, character types, etc. However, this view is limited for various reasons. Some of the reasons are listed below. But whether we can tie aesthetic intent to the sole control of the director, is a moot point.
It is generally acknowledged that for about ten years beforedirectors in general had more control over their films than just about any other comparable period in the history of the cinema.
The art of the cinematographer does have a definite impact on the films we see. The cinematographer may be as important as the director in the creation of a film. One reason for the neglect of the cinematographer with regard to the idea of the authorship of a film, may be due to the fact that he is not involved or is not directly involved with the linguistic aspect of the cinema.
However, Metz 's idea of image discourse section 9 abovein which communication is carried out not only through language, but through images as well, may be applied here. In cinematic communication, the basically non-linguistic images in film may not only have a meaningful impact by themselves, but frequently enhance anything in the film conveyed more straightforwardly through language.
Cinematic actors have quite a different relationship with their audience when compared to the actors of a dramatic performance. One of the differences lies in the relatively closer relationship of cinematic actors to the authorship of a film than the actors of a dramatic performance.
Another difference lies in the closeness of the concept of the character in film to that of the actor which we will mention again below, see section 26whereas there is a more clear-cut separation between the two in drama especially in relation to classical dramatic texts. The difference or similarity of actor and character may be a philosophical point of difference between film and drama.
However, this difference has its basis in the following corelated factors: As a corollary to the factors above, there are usually more than one possible performance of the script of a play, whereas there is usually perhaps almost invariably only one unique performance of the script of a film.
If a film is remade, the whole script is usually re-written, and the script of the earlier film is merely used as a source or inspiration for the latter film. However, dramatic actors, unless the playwright knows them, and writes his plays with them in mind, are nowhere near the authorial source of a play.
One reason why some film directors prefer non-professional actors, is the fear that their actors, if they are famous film stars, will have some control on what is finally conveyed by them in the film.
The film star's control on what is said or done in a film is in a way inevitable: In this sense, some films stars are almost archetypal figures, and one goes to a movie to see them, and not the characters in the movie.The latest episode, and the first of the season from the Falmouth bureau, is a celebration and examination of the work of Jane Campion.
Neil is joined on stage by author Ellen Cheshire to introduce a 25th anniversary screening of The Piano, in front of a packed audience of film fans and (new) film attheheels.com follows the screening is a lively debate about the film, problematic viewing.
Collateral is a fantastic thriller that features Tom Cruise delivering a surprisingly subdued performance as an assassin who has an unfortunate encounter with an unsuspecting cab driver played by.
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Essay on Film Noir Features in Blade Runner and The Matrix Words | 5 Pages. Film Noir Features in Blade Runner and The Matrix “The Matrix” has a main science fiction theme but also includes features of film noir films.
It is directed and written by Andy and Larry Wachowski.