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Journal articles on the topic 'Film aesthetics'
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1
O, Michaela. "Dividual Film Aesthetics." Philosophy International Journal 6, no. 2 (April 14, 2023): 1–6. http://dx.doi.org/10.23880/phij-16000294.
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The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much like contemporary plurivocal musical compositions. He reads their articulations as transitions between temporarily varying semiotic combinations; thus, they are not “‘divisible or indivisible’, but ‘dividual.’”(14) Referring to this Deleuzian concept, I want to delve into different films under this aesthetic perspective, exposing their character of mutual allusions and formal adaptations: from a docufiction by Jean Rouch to feature films by Jean-Luc Godard, Med Hondo and Jean-Pierre Bekolo. These films dividuate themselves due to their aesthetic interferences and the curious observation that certain European film styles were “invented” in an African context.
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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (January 25, 2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.
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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
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Zhang, Yifan. "The Violent Aesthetic Embodiment of the Charm of the Villains in the Films." Communications in Humanities Research 15, no. 1 (November 20, 2023): 18–24. http://dx.doi.org/10.54254/2753-7064/15/20230530.
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The aesthetics of violence are mainly in the sense that violence is presented in an aesthetic way, and poetic pictures and even imaginary shots are used to express the violence and violence of human nature. Viewers themselves are often amazed at the artistic expression and have no specific discomfort with the content. This paper mainly analyzes the three films from many aspects. The three films have different backgrounds and plots, and their commonalities are bright aesthetic expressions and rich lens language. This paper analyzes the aesthetic embodiment of the unique charm of the villain in the film from many angles, interprets the aesthetic language of the film by means of violence aesthetics, and studies it by means of examples. This paper finds that violence aesthetics is presented in an artistic way in the senses and a deeper understanding of the definition of violence aesthetics.
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Tian, Yi nong, and Guanwen Diao. "Research and analysis of the development of news film and television based on the integrated media environment." SHS Web of Conferences 167 (2023): 02014. http://dx.doi.org/10.1051/shsconf/202316702014.
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The expansion of the digital integration mode of contemporary digital cinema from creation to projection and the change of cinematic language both herald the breakthrough of technology once again and the opening of a new era of digital cinematic art. From the aesthetic point of view, digital cinema has overturned and dismantled some of the theoretical essentials and important concepts of traditional film aesthetics about film ontology, and the changes and progress of digital cinema’s generation principle, audiovisual environment and media properties have profoundly influenced film art creation and audiences’ aesthetic approach. Digital reproduction and regeneration can realistically simulate reality and transcend reality to construct the story world in film, forming a higher level of aesthetic composition and aesthetic concept. The innovation of film media and the transformation of digital film machines enable audiences to develop an embodied experience at a super close distance or without distance, thus falling into the “immersion of the here and now” and “playable story”. The digital anthropomorphic film phenomenon experience and the immersive viewing mode of multimedia sound and image have perfectly realized the freedom and transcendence of digital film aesthetic experience and become an important force to promote the development and evolution of film aesthetics. It is the original purpose of this dissertation to explore the relationship between digital film technology development and film aesthetic discourse under the new digital technology conditions, to sort out the aesthetic implications and aesthetic characteristics of digital films, to explain the film concepts and aesthetic issues in the digital era, and to try to complete the systematic construction of contemporary digital technology film aesthetics.
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Tronconi, Giulia. "Aesthetics of Slowness, Aesthetics of Boredom." Screen Bodies 8, no. 1 (June 1, 2023): 33–54. http://dx.doi.org/10.3167/screen.2023.080104.
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Abstract Within the contemporary discourse on slow cinema and independent arthouse filmmaking, emerges the figure of Malaysian-born, Taiwan-based director Tsai Ming-liang. His works, situated at a crossing between different forms of expression—film and installation, narrative film and ethnography—have often been deemed tiresome, boring. The following article explores where and how boredom may be identified in his films, and questions whether the languid feeling can be considered an aesthetic achievement. In particular, the article offers close textual analysis of I Don't Want to Sleep Alone (2006) and Days (2020). Leveraging on the personal quality of felt duration, these films attune the viewer to the possibility of wonder and encourage considerations of the embodied representation of profound emotions such as solitude, alienation, and melancholy.
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Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (October 27, 2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.
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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inheritance; and their foundation and potential for modern transformations. The article makes an original Chinese contribution to the creation of a new film aesthetics for future images in the era of artificial intelligence.
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Cui, Huaguo, Lingling Ding, and Dong-yeul Jang. "Simulation Analysis of Aesthetic Effects of Context in Film and Television Animation Based on Unity 3D." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 2549–58. http://dx.doi.org/10.18001/trs.7.5.1.24.
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Film and television animation generally belongs to the art form of film and television category, but it also contains a large number of characteristics of art visual communication. To explore the research scope of visual communication of film and television animation aesthetics, we may as well start from the perspective of methodology. If the methodology of aesthetics is also applicable to the study of film and television animation aesthetics, we can choose the most commonly used methodology in literature and art and aesthetics to analyze the aesthetic application of film and television animation works from different angles, such as “symbolic research method”, “psychoanalysis method”, etc., so as to find the key to the existence of the aesthetic significance of film and television animation works.
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Miao, Zheng. "Fragmented viewing of movies in contemporary society." Journal of Education, Humanities and Social Sciences 3 (September 22, 2022): 117–28. http://dx.doi.org/10.54097/ehss.v3i.1556.
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With the popularity and rapid development of the Internet, online video has played a very important role in promoting film and television communication. On the basis of online video, the rise of the short video industry has also brought about a huge change in people's movie habits. The fragmented aesthetics of movies are increasingly prominent under the influence of digital technology. The effects stemming from market forces are particularly profound. Marketization requires film production to take into account the types of audiences and to take care of the audience's spiritual fragments, and to be dominated by the aesthetic tastes of younger audiences, film co-production and distribution cross-border market operations, the integration of market awareness and national awareness, and the generalization of films. As well as the market-driven technology and the impact of technology on film narratives, these are all concrete manifestations of the market's impact on the fragmented aesthetics of films. The fragmented aesthetics of films not only liberates the creativity of the public, injects vitality into the market, but also weakens the artistry of films.
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Zhou, Ziluo. "A Brief Discussion on the Aesthetic Connotation of Eastern Cinema." Communications in Humanities Research 27, no. 1 (January 3, 2024): 138–43. http://dx.doi.org/10.54254/2753-7064/27/20232158.
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Looking back at the century-long development of Chinese cinema, the deep-rooted influence of traditional Chinese aesthetics has played a crucial role in promoting the sinicization and nationalization of films. The isomorphic relationship between universal film aesthetics and traditional Chinese aesthetics allows Chinese cinema to extract humanistic values, broaden aesthetic categories, and increasingly present the vibrant characteristics of "Eastern cinema." This paper aims to analyze the aesthetic changes during the development of Chinese cinema, explore the aesthetic implications of Eastern cinema, and reflect on the new formats of Eastern cinema in the context of the contemporary era.
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Fischer, André. "Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness." Film-Philosophy 22, no. 1 (February 2018): 39–59. http://dx.doi.org/10.3366/film.2018.0061.
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This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness (Land des Schweigens und der Dunkelheit) I show how the dynamic between Apollonian veil and Dionysian Urbild (original image) is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift the focus away from the fact-fiction debate surrounding most of Herzog's documentaries and to concentrate instead on framing Herzog's claims of non-rational truth theoretically and locating his work in the aesthetic tradition of new mythology.
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Zapāne, Agnese. "VISUAL AESTHETICS OF JĀNIS STREIČS’ FILMS." Culture Crossroads 10 (November 10, 2022): 111–18. http://dx.doi.org/10.55877/cc.vol10.146.
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Jānis Streičs is one of the key figures in the Latvian film history. His Soviet period films (13 feature films) are distinguished by a certain visual style, as well as by technique and aesthetics of creating characters, sets and the on-screen world. The 1970s and 80s was a prolific time for the director both in terms of genres and subjects covered in his films. Films of this period serve as evidence to Jānis Streičs’ strong authorship, as well as give grounds for further research into aesthetic canons, technical possibilities and visual aesthetics of the Soviet period films.
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Liu, Bei. "Exploring the New Aesthetic Significance of Chinese Film Art under the Influence of Digital Technology." Communications in Humanities Research 12, no. 1 (November 20, 2023): 26–37. http://dx.doi.org/10.54254/2753-7064/12/20230019.
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Film, rooted in technology, possesses unique aesthetic characteristics that are intertwined with technological advancements. Since the beginning of the new century, the integration of digital technology has facilitated a seamless transition of film art from production to distribution, ushering in a new era of digital film aesthetics. This paper focuses on investigating the relationship between digital technology and film art, clarifying the developmental origins of both, and using the degree of digital technologys integration into film art as a starting point. By examining classic digital film texts, the paper explores the reshaping of various aspects of film production through the application of digital technology. Based on film aesthetic theories, this paper aims to deconstruct traditional film aesthetics through the lens of digital film, making meaningful attempts to establish the aesthetic framework for Chinese digital film art.
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Koutras, Konstantinos. "The Politics of Film Aesthetics: Filmososphy, Post-Theory, and Rancière." Philosophies 9, no. 2 (April 12, 2024): 50. http://dx.doi.org/10.3390/philosophies9020050.
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The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this article, I will offer an alternative account of film aesthetics that draws on Jacques Rancière’s theory concerning the mutually determining relationship between aesthetics and politics. In particular, I will consider the relevance of Rancière’s thesis concerning what he calls the distribution of sensible to current accounts, as well as taking up his novel consideration of aesthetic distance and the “emancipated” spectator. With respect to film phenomenology, I will examine how its film-theoretical program rests on the flawed concept of a de-politicized spectator enchained by the film image. With respect to post-theory, I will examine how its appropriation from cognitive science of the rational agent model of meaning making inappropriately limits the political potential of film aesthetics.
14
Barnett, Daniel. "Daniel Herwitz (2008) Aesthetics." Film-Philosophy 13, no. 1 (December 2009): 130–38. http://dx.doi.org/10.3366/film.2009.0010.
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IBRAHIM, AZAHA. "ESTETIKA RASA DALAM FILEM ARAHAN DAN LAKON OLEH P. RAMLEE : ANALISIS TERHADAP FILEM PENAREK BECA (1955)." International Journal of Creative Future and Heritage (TENIAT) 1, no. 2 (December 31, 2013): 87–106. http://dx.doi.org/10.47252/teniat.v1i2.116.
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Kertas seminar ini cuba menjelaskan hubungan estetika dengan rasa khalayak dalam filem arahan dan lakonan oleh P. Ramlee: rujukan filem PENAREK BECA (1955). Estetika adalah konsep yang berkaitan dengan keindahan, elok, berguna yang merangkumi aspek fizikal dan dalaman termasuk akal budi. Rasa ialah emosi dan perasaan yang terpendam dalam alam bawah sedar diri seseorang (unconscious). Emosi akan terangsang apabila disentuh dan diusik dengan fenomena sosiobudaya kehidupan masyarakat yang direpresentasikan melalui filem yang mampu menyentuh rasa seseorang. PENAREK BECA (1955) menyajikan penonton dengan sinematografi, lakonan dan arahan P. Ramlee yang estetikanya merangkumi estetika bentuk, rupa, nilai dan sosiologi. Estetika tersebut membangkitkan rasa marah, rasa utama yang mendominasi filem ini di samping rasa sedih, rasa riang dan rasa wira. PENAREK BECA (1955) ialah filem pertama arahan P.Ramlee yang memberi kesan estetika rasa kepada penonton. This seminar paper tries to explain the aesthetical relationships among the audience in the film directed and acted by P. Ramlee: PENAREK BECA (1955). Aesthetics is a concept related to beauty, pleasantness, usefulnessembracing the physical and inner common senses. Feeling is the emotion and feeling latent in the subconsciousness of a person (unconscious). Emotions are aroused when touched and untouched by the phenomenon of cultural life of the community represented in the film that could affect the taste of a person. PENAREK BECA (1955) presents the audience with the cinematography, scenario and direction of P. Ramlee, including aesthetic design, appearance, value and sociology. Aesthetics meant is capable to arouse the sense of anger, the core dominated feeling in the film, as well as feelings of sadness, sense of joy and heroism. PENAREK BECA (1955) was the first film directed by P.Ramlee and claimed to be capable of producing the effective aesthetical senses for the audience.
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Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.
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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,
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Zhu, Yifan. "The Influence of the French New Wave Movement on Contemporary World Art Film Creation." Communications in Humanities Research 3, no. 1 (May 17, 2023): 670–74. http://dx.doi.org/10.54254/2753-7064/3/20220555.
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The French New Wave is one of the three major aesthetic movements in the world film history. The "New Wave" films shocked the world, causing the "New Wave" film movements in America, Europe, Asia and other countries to emerge one after another, triggering a worldwide film aesthetic revolution. The French "New Wave" has a profound impact on modern films. This paper focuses on grasping the emergence, development, prosperity and decline of the French "New Wave" film aesthetics, paying attention to live broadcast and process documentaries, analyzing the artistic skills of the New Wave film to shape characters, effectively summarizing the influence of the French New Wave movement on contemporary world artistic film creation, so as to find out some rules of film development and provide a necessary reference system for contemporary world film art creation, And explore the development direction of Chinese film in the future.
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Tegel, Susan. "Nazi film aesthetics." Historical Journal of Film, Radio and Television 26, no. 3 (August 2006): 417–20. http://dx.doi.org/10.1080/01439680600799447.
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Grodal, Torben. "The PECMA Flow: A General Model of Visual Aesthetics." Film Studies 8, no. 1 (2006): 1–11. http://dx.doi.org/10.7227/fs.8.3.
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This article argues that the central dimensions of film aesthetics may be explained by a general theory of viewer psychology, the PECMA flow model. The PECMA flow model explains how the film experience is shaped by the brain‘s architecture and the operation of different cognitive systems; the model describes how the experience is based on a mental flow from perception, through emotional activation and cognitive processing, to motor action. The article uses the flow model to account for a variety of aesthetic phenomena, including the reality-status of films, the difference between narrative and lyrical-associative film forms, and the notion of ‘excess’.
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Koutras, Konstantinos. "Documentary Fictions: Jacques Rancière and the Problem of Indexical Media." Film-Philosophy 27, no. 2 (June 2023): 262–81. http://dx.doi.org/10.3366/film.2023.0229.
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The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, but of argument. In this article, I examine how philosopher Jacques Rancière offers an alternative account of the documentary grounded on aesthetics rather than sobriety. I show how, in rethinking the absent cause model of history as well as the relationship between fiction and nonfiction, Rancière's aesthetic approach resolves the conceptual problem posed by indexicality and brings clarity to the value and function of indexical media with respect to the documentary.
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Zhu, Xinchen. "Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)." Arts 13, no. 3 (May 28, 2024): 96. http://dx.doi.org/10.3390/arts13030096.
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The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir.
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Yeo, Jinsook. "A Study on the Affinity of Kim Jong-sam’s Poetry and Film." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 721–31. http://dx.doi.org/10.33645/cnc.2022.7.44.7.721.
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The purpose of this paper is to reveal the affinity between Kim Jong-sam’s poetry and film. Under the setting that the audiovisual image and rhetorical qualities that appear in Kim Jong-sam’s poems can be realized in movies, the interface between the two genres was examined. We focused on image presentation and rhetorical devices for films that are closely related to Kim Jong-sam’s poetry. This method is an inferred hypothesis that the artistic achievement of his poetry was specifically reproduced and expanded in a specific film. In a reality where the demand and value of visual aesthetics are increasing, the image operation of poetry expands the aesthetic framework and forms an axis of fusion art. Combining the poems of Kim Jong-sam, who preempted cinematic sensibility, with actual films is to promote fusion between genres. It is the discovery of a literary film that reads poetry in film. This is a work that finally confirms that Kim Jong-sam recognized himself as an ‘artist’, and is a poetic possibility that visual aesthetics can reproduce.
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Faulstich, Werner. "Film Aesthetics and New Methods of Film Analysis." Empirical Studies of the Arts 7, no. 2 (July 1989): 175–90. http://dx.doi.org/10.2190/bv3j-09br-1p56-c4gu.
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Almost every piece of scientific or critical work which is concerned with the film expresses at the same time opinions both about the nature of film and about the methods of film analysis, in most cases only implicitly. In contrast to such implicit statements, I will try here to make these theoretical and methodological positions explicit and demonstrate them with examples. First of all, I should like to refresh our memory about the basic theoretical premises of what I call “film aesthetics” (a concept which was presented in 1982 at great length). Then we have to name the rather more practical prerequisites essential to any serious film analysis. Third, we should concentrate on new methods of film analysis paying special attention to quantitative analysis. It would hardly be possible to give a full picture of all the various methods which in the past have been applied to various feature films with various results-many of them are presented and discussed in several introductory books on the analysis of film [1]. The new methods will be described here as suitable for analyzing that part which one could call the narrative structure of a film, i.e., its formal construction and the conceptional ordering of the action (this is more than just story and plot).
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Peabody, Seth. "Image, Environment, Infrastructure: The Social Ecologies of the Bergfilm." Humanities 10, no. 1 (February 26, 2021): 38. http://dx.doi.org/10.3390/h10010038.
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The German mountain film (Bergfilm) has received extensive critical attention for its political, social, and aesthetic implications, but has received remarkably little attention for its role in the environmental history of the Alps. This article considers the Bergfilm within the long history of depictions of the Alps and the growth of Alpine tourism in order to ask how the role of media in environmental change shifts with the advent of film. The argument builds on Verena Winiwarter and Martin Knoll’s model of social-ecological interaction, Adrian Ivakhiv’s theoretical framework for the environmental implications of film, and Laura Frahm’s theories of filmic space. Through an analysis of Arnold Fanck’s films Der heilige Berg [The Holy Mountain, Fanck 1926] and Der große Sprung [The Great Leap, Fanck 1927], which are compared with Gustav Renker’s novel Heilige Berge [Holy Mountains, Renker 1921] and set into the context of the environmental history of the Alpine regions where the films were shot, the author argues that film aesthetics serve as a creative catalyst for environmental change and infrastructure development. While some ecocinema scholars have argued that environmental films teach viewers new ideas or change modes of behavior, this analysis suggests that film aesthetics are most effective at accelerating processes of environmental change that are already underway.
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Keating, Abigail. "Katherine Thomson-Jones (2008) Aesthetics and Film." Film-Philosophy 14, no. 1 (February 2010): 468–74. http://dx.doi.org/10.3366/film.2010.0034.
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Hockenhull, Stella. "Remystifying Film: Aesthetics, Emotion and The Queen." Film-Philosophy 16, no. 1 (December 2012): 165–82. http://dx.doi.org/10.3366/film.2012.0010.
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Reisenzein, Rainer. "Naturalized Aesthetics and Emotion Theory." Projections 12, no. 2 (December 1, 2018): 76–85. http://dx.doi.org/10.3167/proj.2018.120210.
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Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.
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Asciuto, Nicoletta. "Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema." Space and Culture 23, no. 4 (February 24, 2019): 394–408. http://dx.doi.org/10.1177/1206331219830324.
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This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Monicelli’s I soliti ignoti ( Big Deal on Madonna Street, 1958) and Michelangelo Antonioni’s L’avventura ( The Adventure, 1960), through Una giornata particolare ( A Special Day, 1977) and La terrazza ( The Terrace, 1980) by Ettore Scola, to Paolo Sorrentino’s very contemporary La grande bellezza ( The Great Beauty, 2013), a film clearly indebted to the aesthetics of its ground-breaking predecessors.
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Afrianto, Damar Tri. "FILM SANG PENARI : Sebuah Kajian Estetika Baumgarten." Capture : Jurnal Seni Media Rekam 8, no. 1 (August 9, 2017): 16–33. http://dx.doi.org/10.33153/capture.v8i1.1897.
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Film Sang Penari (The Dancer) is one of Indonesian film that has a local spirit.Ifa Ifansyah, director of this film presents the problematic female dancers Ronggeng, ranging from the problem itself with her culture,herself with her family,to herself with her love story. The film seems to provide another offer to bring local wisdom in the movie screen.This research uses ethical approach by applying interpretation of analysis with Baumgarten aesthetic theory.The presentation is presented in qualitative descriptive. Based on the aesthetic analysis are generated various perceptions of beauty as follows: 1) The filmSang Penari (The Dancer) has a unique plot power, the cornerstone of this plot is a flashback but only a small percentage. Then forwarded with a forward flow that dominates the plot in its entirely.2)The aesthetics in this film appear when presenting a complex suspense and surprises. Both aspects are beyond the expectations of the audience thought and blanket the mind of the audience. 3) The aesthetics revealed is how the power of displaying beauty-beauty through political symbols. 4) The next aesthetic that is revealed is the cultural aesthetic.The aesthetics of Ronggeng performing arts along with the aspects in them are clearly revealed in this film.Aesthetics displayed by a dancer Ronggeng not only on the beautiful and sensual movement, but also a Ronggeng is a representation of beauty in maintaining the agrarian society.Keywords:Film,Sang Penari,estetika,Ronggeng,dan Buamgarten
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Zhou, Xing. "The Current Problems of Aesthetic Creation in Chinese Film Art." Journal of Chinese Film Studies 1, no. 2 (November 1, 2021): 355–76. http://dx.doi.org/10.1515/jcfs-2021-0031.
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Abstract Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.
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Jiang, Xinyu. "An Analysis of the Uniquely Chinese Oriental Aesthetic in Crouching Tiger, Hidden Dragon." International Journal of Education and Humanities 4, no. 3 (September 19, 2022): 6–8. http://dx.doi.org/10.54097/ijeh.v4i3.1642.
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Crouching Tiger, Hidden Dragon, as a martial arts film, is filled with a variety of summaries and expressions of Eastern aesthetics, the origins of which are closely linked to Taoist thought. This emphasis on the spirit of cessation, seclusion and compassion forms the backbone of the film, while the writing of rebellion, resistance and domestication fills the flesh and blood of the film. In this film, Ang Lee attempts to deconstruct traditional oriental aesthetics and then reorganise them, resulting in Crouching Tiger, Hidden Dragon, a film with a twisted story and vivid, subtle images that carries a classical artistic aesthetic while incorporating modern thinking, which is worthy of a glimpse with an oriental perspective.
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Stroud, Scott. "Pragmatist Aesthetics and Film." Film and Philosophy 10 (2006): 67–83. http://dx.doi.org/10.5840/filmphil2006106.
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Knight, Deborah. "Film Aesthetics and Appreciation." Film and Philosophy 22 (2018): 21–35. http://dx.doi.org/10.5840/filmphil2018223.
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Justus, Timothy. "Toward a Naturalized Aesthetics of Film Music." Projections 13, no. 3 (December 1, 2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130302.
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In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film.
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Wang, Yunning. "Film Literary Criticism and Image Aesthetics: Around Film Criticism." SHS Web of Conferences 167 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202316701014.
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Film criticism has been carried out in the form of activities since its inception, in which many outstanding intellectuals and artists have participated.Especially in this respect, European intellectuals can contrast with American intellectuals, who have long held films in contempt. “In Europe, intellectuals have been fascinated by filmmaking since the beginning of their media,” writes Tim Bewart and Thomas Szobak.It is not surprising, therefore, that in the 1920s, throughout Europe, Paris, Berlin, Moscow, a group of intellectuals dedicated to all corners of the art and other artists on the same basis as art, came together to discuss and write about film. “Unlike the U.S., where movies were excluded from intellectual reflection until the late 1950s, film criticism was a battleground for intellectuals in France.
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Corpus, Faye III, Angelique Mira Ticlao, and Joanna Juvyjoy Rojo. "Bala o Hustisya?: A comparative contextual analysis on the representation of extrajudicial killings in selected Filipino narrative films." F1000Research 12 (November 23, 2023): 1496. http://dx.doi.org/10.12688/f1000research.133747.1.
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Background: The war on drugs campaign led by President Duterte increased the prevalence of extrajudicial killing themes in Philippine cinema, reflecting societal issues and influencing the film industry. This study analyzed the representation of extrajudicial killings (EJK) through the mise-en-scene elements of aesthetics and configuration, and the common themes of the genres such as war and society, drama, action, and crime/thriller of the selected extrajudicial killings related films: Buybust (2018), Respeto (2017), and Neomanila (2017). The EJK-related films were selected due to their categorization as narrative films and exposure to the 17th New York Asian Film Festival. This study aims: (1) to identify the representation and the common themes used when representing EJK under the film genres, (2) to analyze the mise-en-scene elements of aesthetics and configuration used in the genres, (3) and to develop an understanding of how EJK-related films can represent the voiceless. Methods: This study analyzed selected films across the respective genres in determining the filmmakers’ creativity using comparative contextual analysis. Results: The results have shown that EJK in films is represented by configuration: genre conventions, aesthetics: cinematic techniques, and common themes. (1) Configuration: the genre conventions of the films similarly fall under the genre of society and war, drama, and crime and thriller which are similar in the portrayal of the catalyst, and avatars in the EJK-related films. (2) Aesthetics: cinematic techniques are only a component of a film, but not all of them can depict real events since they simply provide a filter of roles and materials used. (3) Common themes were structural inequality, competition, and war. Conclusions: The selected EJK-related films have the same commonalities of themes, film elements, and film genres. The study concludes that the three films were represented through their depiction of EJK as an ongoing societal issue in the country.
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Arouh, Melenia. "The Different Meanings of “Film Form”." Projections 14, no. 3 (December 1, 2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.
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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.
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Mulia, Prajanata Bagiananda, and D. ,. Dharsono. "EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 27, 2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.
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The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
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Noh, Shihun. "The Surreality of Soundscape in Luis Buñuel’s Film: Focusing on L'âge d'or." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 443–53. http://dx.doi.org/10.33645/cnc.2023.10.45.10.443.
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The purpose of this study is to examine the relationship between soundscapes and surrealist aesthetics in Buñuel's films, focusing on L'âge d'or. As a result of the examination, it can be seen that in this film music is used to express motifs of the film and paradoxically attack elements that hinder the realization of desire, and dialogue and other sound are used to reinforce the realness of visual images or to oppose the music. In addition, as a result of analyzing the soundscape composition of this film, we were able to identify the characteristics that most of the sounds in this film are everyday sounds, silence is used appropriately, and there is no inversion between music as the background and dialogue and other sound as the foreground. These soundscapes realize the aesthetics of the unconscious by expressing the ambiguity of dreams through metaphorical suggestion (music) or omission (silence) in this film, and create an aesthetics of “dépaysement” (unfamiliarity) by surrounding fantastic visual images with everyday sounds to induce disharmony. So, it can be said that these soundscapes are consistent with surrealist aesthetics.
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Ferreira, Emmanoel. "Agency, Appropriation, Politics: Three Epistemological Keys Towards an Aesthetics of Play." Acta Ludologica 6, no. 2 (2023): 62–78. http://dx.doi.org/10.34135/actaludologica.2023-6-2.62-78.
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Based on a dialogue with authors of pragmatist philosophy, game studies, and communication, this article intends to understand the relationship between aesthetic experience and ludic media, in particular digital games, in what this relationship distinguishes from the aesthetic experiences provided by different media, such as literature, music, film and the arts in general. To better understand this relationship, we propose the presentation and development of three epistemological axes (or keys), namely: i) aesthetics and agency, ii) aesthetics and appropriation, and iii) aesthetics and politics. Furthermore, this article intends to present and comment on selected works of digital games to illustrate the relationship between play and aesthetic experience in each of those respective axes.
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Zhu, Meifan. "Avant-gard filmmaker Maya Deren’s feminist film At Land, analysis, and comparison." Journal of Education, Humanities and Social Sciences 12 (April 19, 2023): 15–19. http://dx.doi.org/10.54097/ehss.v12i.7585.
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Shortly after the french new wave movement, avant-garde films during the 20th century with black and white colors create a spark of feminist ideologies. They successfully achieved their original goal - anti-Hollywood filmmaking - through films with not simple action and adrenaline but rather ones with depth and aesthetics. Maya Deren’s films, specifically, reflect her own experiences as an artist and feminist director with many metaphors and foreshadowings to uncover the true depth behind the aesthetic of gestures. During this style of filmmaking, different cinematic skills and the progress of films in the avant-garde genera became more sophisticated ideas and filmmakers appear on the screen. This is when At land appears, it was not only a well-known black and white film but also a representation of progression in people’s feminist views and appreciation of subject matter in the film industry. Maya Deren used this short film to illustrate a woman’s life which we can relate to almost 80 years after the film was produced.
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Strugova, E. A. "Что бы ни случилось с киноопытом: от чувственных данных к опытности в истории эстетики." Studia Culturae, no. 58 (March 21, 2024): 188. http://dx.doi.org/10.31312/2310-1245-2023-58-188-204.
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<p>The aesthetics of sensuality is rightfully considered an interdisciplinary field. One of the principles of such reasoning is the shift from the particular to the general, since sensuality is able to resist the 'majors' of rationality among topics (aesthetic judgment, art expertise). Even the most non-reductive approaches, standing apart from the Theories, emphasize the absence of common features that many aesthetic experiences would inherit. Whereas experience, along with observation, has a base that acts as an aid to academic texts. In the language of film criticism, there are seemingly intuitive, but productive notions: intonation, voice and atmosphere. Experienceness as a concept at the intersection of practical aesthetics and film theory makes it possible to find prerequisites for interest in sensuality in a cumulative sense in the history of aesthetics. Being an expression of a particle 'already', referring to both time and space, experienceness in the narrow sense (watchfullness) means a qualitative gap between the value judgment of the film and the depth of experience. While in a broad sense (namely experienceness ) It can be a reason to reconcile the axiology and phenomenology of the sensual side of cinematic experience.</p>
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Smith, Murray. "Film, Art, and the Third Culture." Projections 12, no. 2 (December 1, 2018): 111–36. http://dx.doi.org/10.3167/proj.2018.120214.
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In this article, I reply to the eleven commentaries on Film, Art, and the Third Culture gathered here, organizing my responses thematically and seeking to find points of similarity and difference among the commentators as well as with my own perspective. I address arguments on embodied simulation; the analogy between films and dreams; aesthetic experience and the “expansion” of ordinary experience; the relationships between culture and cognition and between fiction and emotion; theories of the extended mind and of niche construction; the place of neuroscience in aesthetics; and the relationship between naturalism and normativity. I conclude with some reflections on naturalistic methodology.
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Pramayasa, I. Made Hendra Mahajaya, Gede Pasek Putra Adnyana Yasa, and Gede Lingga Ananta Kusuma Putra. "AESTHETICS OF ANIMATED MOVIE POSTER ILLUSTRATION "SI JUKI THE MOVIE"." Journal of Aesthetics, Design, and Art Management 3, no. 2 (October 31, 2023): 65–78. http://dx.doi.org/10.58982/jadam.v3i2.522.
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Purpose: In animated films, posters serve as a means to convey story illustrations. The visuals of the poster become an attraction for the audience or fans. Signs help the audience understand the purpose and message to be given. The information content of animated film works can be displayed through carefully arranged images or text and apply elements of art and art principles to create beauty.
Research methods: To deepen the understanding of the value of beauty contained in the poster that is the focus of the research, the author analyses the illustrations presented through the description of aesthetic elements and principles concerning Herbert Read's objective theory. This article describes the accurate beauty values reflected in the objects in the poster of "Si Juki The Movie, Committee for the End of Days. This article presents a conclusion about aesthetics that can be identified through the elements and principles of aesthetics contained in the work.
Findings:Film posters have the potential as a means to disseminate information using aesthetically designed illustrations of images and text. Through applying aesthetic elements and principles, movie posters can create a value of beauty that visualising shapes, colours, and motifs can easily understand. Based on the analysis, the animated movie poster "Si Juki The Movie" has a beauty implied in the aesthetic elements contained in the shapes, colours, and motifs displayed on the sign.
Implications: The results of this research are expected to increase public knowledge about the elements and principles of aesthetics interpreted through objective beauty in an animated film poster work.
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Rohma, Naafi Nur. "ESTETIKA FORMALIS FILM POHON PENGHUJAN SUTRADARA ANDRA FEMBRIARTO." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 41. http://dx.doi.org/10.24821/rekam.v13i1.1579.
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Penelitian berjudul Estetika Formalis Film Pohon Penghujan Sutradara Andra Fembriarto menggunakan metode penelitian kualitatif, pendekatan estetika formalis Sergei Eisenstein dan teori estetika formalis Sergei Eisenstein. Adapun tujuan dari penelitian adalah untuk mengetahui estetika formalis dari film Pohon Penghujan sehingga dapat diketahui makna dibalik film Pohon Penghujan. Permasalahan yang muncul dalam penelitian adalah estetika formalis dalam film Pohon Penghujan Sutradara Andra Fembriarto. Analisis yang dilakukan adalah analisis interpretasi pendekatan estetika formalis Sergei Eisenstein, yaitu mise-en-scene, sinematografi, montase dan suara. Hasil yang didapatkan dalam penelitian adalah terpilihnya empat adegan berdasarkan tingkat dramatik film dan makna dibalik keempat adegan tersebut.The research of Formalist Aesthetics of Rainy Tree Film directed by Andra Fembriarto uses method of qualitative research, formalist aesthetics approach and Sergei Eisenstein formalist aesthetics theory. The aim of this research is the truth of formalist aesthetics Pohon Penghujan film so that it can be seen artistic message of Pohon Penghujan film. The main problems that arise in this research is formalist aesthetics of Rainy Tree Film directed by Andra Fembriarto. Analysis for this research is Sergei Eisenstein formalist aesthetics approach: mise-en-scene, cinematography, montage dan sound. The results of this research is artistic message of Pohon Penghujan film as formalist aesthetics.
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Di Summa-Knoop, Laura T. "Naturalized Aesthetics and Criticism." Projections 12, no. 2 (December 1, 2018): 19–27. http://dx.doi.org/10.3167/proj.2018.120204.
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Can naturalized aesthetics contribute to the evaluation of a work? In this article, I consider three ways in which naturalized aesthetics may inform critical evaluation. First, I analyze the role of naturalized aesthetic analysis in the formation of the creative choices made by filmmakers. Second, I assess the relationship between the analysis of empathy provided by Murray Smith’s Film, Art, and the Third Culture and the expression of moral evaluations. And third, I outline what I take to be naturalized aesthetics’ promising potential contribution to the study of genre and contra-standard features. In the concluding section, I instead introduce what I take to be two rather serious difficulties to a cooperation between criticism and naturalized aesthetics.
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Schelstraete, Hanne. "Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory." Film-Philosophy 26, no. 3 (October 2022): 331–51. http://dx.doi.org/10.3366/film.2022.0204.
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This article analyses Eric Rohmer’s film theory in the light of the Platonic triad of truth, beauty and goodness, as embodied by the aesthetic philosophy of Kant, Hegel and Schiller. Although his film theory shows affinity with Kant’s ideal of art as a form of natural beauty, I will argue that a broader look at Rohmer’s philosophical foundations is necessary. The point where Rohmer’s film theory deviates from Kant’s triadic philosophy is exactly the point where he approaches the aesthetics of Hegel and Schiller. Turning towards their idealistic philosophy creates a new understanding of Rohmer’s film theory. His ideas on cinema’s ontology and value mirror both Hegel’s emphasis on beauty as the artistic and immediate manifestation of trans-historical truth and Schiller’s belief in beauty as the condition for morality and freedom. Plato’s conceptual and intertwined triad of truth, beauty and goodness lies at the basis of his affinity to 18th century aesthetic philosophy. This close affinity raises the question of the relation between film theory and philosophy, and Rohmer’s position in this debate. He enriches his own thoughts with those of philosophers that inspired him, and enriches their legacy with his cinema-related conclusions.
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Koch, Gertrud. "Film als Experiment der Animation." Zeitschrift für Medien- und Kulturforschung 3, no. 1 (2012): 11–24. http://dx.doi.org/10.28937/1000106350.
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Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.
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Restivo, Angelo. "Using Feature Film Clips to Illustrate Film Aesthetics." Cinema Journal 34, no. 3 (1995): 80. http://dx.doi.org/10.2307/1225747.
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Hayward Marcum, Joni. "Reconsidering the Aesthetics of Garbage in Waste Land." Afterimage 48, no. 3 (September 1, 2021): 35–57. http://dx.doi.org/10.1525/aft.2021.48.3.35.
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In the 2010 documentary film Waste Land, directed by Lucy Walker and co-directed by João Jardim and Karen Harley, Brazilian-born and Brooklyn-based visual artist Vik Muniz travels to the Jardim Gramacho landfill outside of Rio de Janeiro, Brazil. There, he creates works of art out of material from the landfill with the help of several catadores, or pickers, who work there. Though Muniz’s visual artwork and Walker’s film both form an aesthetic of garbage by making trash the material most central to their work, their redemptive impulses should be questioned, and their use of garbage aesthetics analyzed. Their work simultaneously takes part in and falls short of the political goals of this aesthetic, namely, to focus both visual and political attention on the inequalities faced by marginalized people, places, and materials. In reading Waste Land for the ways in which it both embraces and shirks garbage aesthetics, I will suggest how this aesthetic approach can help interrogate the limitations and possibilities offered by the theorizations of the Anthropocene, Capitalocene, and Chthulucene they intersect with, calling attention to their political and aesthetic qualities.