To See the Cinema: Human – Sight – Reality (original) (raw)

Cinematographic Art & Documentation Journal of cinematographic studies Nr. 11 (15). New Series. 2015

What is cinema？" That is how the class started, with an invitation to reflect and write down our own, personal definition. Apparently, a fundamental and pompous question, but only later did we understand that this time, the enquiry had a different reason behind it. The purpose was not to find another way of translating the cinematic experience or set a general background for the following course, but it was meant to determine us to start a self introspection about what we are, how we are and what cinema connotes to us, the young, soon-to-be cineastes.

Cinematographic Art & Documentation, nr 18, 2016, UNATC

SUMMARY Sergiu ANGHEL, professor, National University of Drama and Film "I.L. Caragia- le” (UNATC), Bucharest - Editorial: Text and Its Worlds – Texture and Its Lights Alex IORDĂCHESCU, Producer Elephant Film -De l’importance du cinéma en tant qu’outil d’exploration de la conscience Andrei C. ȘERBAN, Ph. D c. „Lucian Blaga” University, Sibiu - La Pianiste ou l’homme-objet. Haneke et Jelinek : entre image et texte Sedat YILDIRIM, Ph. D c. Tallinn University, Estonian Institute of Humanities - Deconstructing The Musical Genre In ‘The Commitments’ (1991) Monica ILIE-PRICA, Ph.Dc., National University of Political Studies and Public Administration, Bucharest - Rediscovering the treasures of the Romanian cine- matographic art of the 1930s through the Cinema magazines. II. Cultural Studies Greek imaginary in contemporary forms Linda Maria BAROS, Linda Maria BAROS, Ph.D, Paris-SorbonneUniversity, - Traductions visuelles du modèle vénusien Diana NECHIT, Ph. D, “Lucian Blaga”University, Sibiu- Théâtralité et ciné- matographicité dans « La Vénus à la fourrure » de Roman Polanski Efstratia OKTAPODA, professor, Université de Paris IV-Sorbonne (France) - Pour une sociologie de la chanson et de la danse.Le théâtre d’ombres de Karaghiozis

A Film Aesthetic to Discover

2007

Challenging today’s ascendant digital aesthetic, this essay retraces one powerful line of French theory which treats film as an art which “discovers” significance rather than “constructs” meaning. Champions of today’s technology find that the digital at last permits complete control over image construction and therefore over “cinema effects.” Opposed to this aesthetic which targets the audience, the French aesthetic stemming from Roger Leenhardt and André Bazin concerns itself with the world the filmmaker engages. An interplay of presence and absence, as well as of human agency in the non-human environment, characterizes the French aesthetic at each phase of the filmic process: recording, composing and projecting. This article focuses on the central phase, composing, and on the terminological shift from “image” to “shot” picked up after Bazin by the Nouvelle Vague and passed forward to our own day through Serge Daney. In short, there is a Cahiers du cinéma line of thought, applied t...

Film/Media Theory and Aesthetics

Course Description: This required M.A course is an advanced journey through the theoretical debates on film and media aesthetics. We will explore the ontological status of Cinema, its relationship to other media forms and its transformed nature in the digital age. The technological basis of cinematic and media practice will be central to the framing of aesthetic concerns. At the end of the 19th century, technologically mediated moving images ushered in a fundamental transformation in the spheres of public life and human experience. The aesthetic question no longer remained limited only to the formal and stylistic features of a tangible object but to a transformation of sensory perception. When viewed from the vantage point of the contemporary digital age, new issues come to the fore. In this journey from celluloid to the digital, the moving image will be positioned as a form of modern magic, as an indexical art, as an inter-medial surface, as a historical archive, as collage, as assemblage, and as a site of terror, thrill, and enchantment. We will focus on key theoretical formulations and specific historical conjunctures along with close analysis of filmic and media material. The course is only open to those who have already done Introduction to Film Studies.

FILM AS ART

There were periods when, in film schools and among film devotees, this book was cast aside as hopelessly outstripped by the progress of film art. If this is no longer the case, it is because the book has changed its character. Its relation to the films of the twenties, from which it took most of its examples, was that of a handbook of physiology to an actual human body moving in the light of day. At the same time, however, it was also a survey of these early productions, of their experimentation in the medium of silent imagery. This, of course, cannot be the book's relation to the films that were made after its publication during the subsequent fifty years. What, then, justifies its persistent presence?

Film as Aesthetic Experience and Work of Art

Postmodern Openings, 2019

This study aims to show that cinema can produce works of art, especially in the current period, one that is still hyper-aesthetized, at least for a significant part of the audience, where watching movies has reached a climax. The approach we have followed in shaping the subject is progressive, drawing upon the theoretical and methodological framework of Aesthetics, Hermeneutics and Continental philosophy. The study begins with the characterization of art films, in order to distinguish them from mainstream films that contain certain artistic aspects and aesthetical features, at least in their shape or form. Afterwards, we shall highlight the features of the film as a work of art, the aesthetic categories that can be found at this level, the developed aesthetic experience, and other relevant theoretical aspects. In order to illustrate the theoretical notions of our study and to reveal the content in a concrete manner, we also included an applied part, in which, through the tools offered by the abovementioned qualitative methodology, we analyzed three films. The interdisciplinary analysis shall reveal the aesthetic language and categories specific to each film as well as how they contain a message of a philosophical nature that can act through certain scenes and sequences as an analogy for various philosophical concepts. The study will end by highlighting some conclusive ideas.