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Keyword : Henri Bergson

1.

An updating of Henri Bergson's theory of comedy, which argues that it makes the theory a better fit to contemporary film comedy.

2.

The coming together of two great minds on film comedy, Arthur Koestler takes on Henri Bergson.

3.

A detailed application of philosopher Henri Bergson's comic theory on Jacques Tati's masterpiece, Les vacances du Mr. Hulot. Be forewarned: some of this will not be funny!

4.

Jacques Tati's comic world, and comic philosophy, as expressed through the world of microcosm and 'democratic' film style..

5.

A Bergsonian analysis of Andrei Tarkovsky's dream-like aesthetics in Mirror.

6.

A theoretical analysis of how the temporal experience is modulated in cinema to accommodate the cognitive possibilities of narrative. The essay relies on the theoretical thoughts of Deleuze and Bergson for its philosophical basis, Paul Ricoeur for the narratology, Bazin for film theory (realism) and then uses the Western genre as its case study.

7.

Part two of Menard's theoretical explication of classical film theory.

8.

This two-part paper uses Orson Welles The Trial (1963) as a model to explicate Brian Henderson's long take theory. Instead of arguing for or against Henderson's critical standpoint, it uses its classification scheme as a basis for a more thorough understanding of the theoretical gap that exists between the two institutional pillars of cinema, the exclusive theories of Sergei Eisenstein and Andre Bazin.

9.

This essay offers a Deleuzian analysis of the great Russian filmmaker Andrei Tarkovsky's montage theory of time-pressure, foregrounded against the historical backdrop of Eisenstein's montage of attractions.

10.

Part two of Menard's unique 'cine-physics'.

11.

Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').

12.

Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?

13.

The Road Movie meets pure movement in the form of Henri Bergson. Part 1.

14.

The Road Movie meets pure movement in the form of Henri Bergson. Part 2.

15.

Part two of David Neo's subtle analysis of Fractal memory images in Sokoruv's Mother and Son.

16.

Gilles Deleuze Meets the Mandelbrot set in this theoretical exploration of the memory images in Sokoruv's modern day Kammerspiel classic Mother and Son.

17.

A look at Atom Egoyan's Family Viewing as both a springboard and touchstone for an inquiry into the nature of time and how shifting perceptions and attitudes toward it have effected society and the individual.

18.

Why is French philosopher Henri Bergson relevant for today's film theory?

19.

In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.

20.

In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.


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