Tags » Film Theory

The Aesthetics of Camera and Lighting and How They Help to Drive the Narrative in Film

Camera and lighting are fundamental elements of the visual language of film. Each shot and its lighting style should serve as a narrative function to help create images that are visually compelling and assist to make the narrative meaningful. 2,562 more words

Camera Lighting

Notes on the AUTEUR Theory in 1962 - Andrew Sarris

the article opens with Kierkegaard:

I call these sketches Shadowgraphs, partly by the designation to remind you at once that they derive from the darker side of life, partly because like other shadowgraphs they are not directly visible. 988 more words


Out Now: Postnaturalism

My new book, Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface, has been out for about a month now — in Germany, at least. The American, British, French, and Japanese iterations of amazon list the book as appearing next week, on August 22 (but available for pre-order), and it may be September by the time the American distributor, Columbia University Press, gets it listed on their website. 133 more words


Book Review

Eugenie Brinkema, The Forms of the Affects (Durham: Duke University Press, 2014)


Mulholland Drive interpretations

Mulholland  Drive (released Oct. 8, 2001) is a film by dir. David Lynch that’s dealing with the descent into obscurity and pending homelessness of an actress (played by Naomi Watts) whose career had been spiraling upwards in Hollywood but has come to an abrupt halt.   933 more words

David Lynch

Book Review: James Naremore's "More than Night: Film Noir in its Contexts"

James Naremore is a film and communications scholar. His 1998 book More than Night: Film Noir in Its Contexts is, as far as I have been able to gather, a classic in the field. 759 more words