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Cinema in communication
Essay on cinema and communication
Cinema as an instrument of communication essay
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“Cinema is the ultimate pervert art. It doesn’t give you what to desire — it tells you what to desire,” according to Slavoj Zizek, a Slovenian Marxist philosopher. Just like in the article “The MP3 as a Cultural Artifact” by Jonathan Sterne, where an MP3 is said to be promiscuous, Cinema; according to Zizeki — said to be the same. This point will be further discussed later in the paper. This paper aims to show cinema as a medium of communication by explaining what cinema is, and relating it to different theories by notable authors and philosophers. The definition of cinema, how it is a medium of communication, relations to theories, and brief case studies will be explored. What is Cinema? Cinema can be taken to mean very different things at different times —a physical space (“I am going to the cinema.”), a medium of entertainment (“Casablanca is a cinema masterpiece!”), or even an entire industry with all the connections and entanglements that entails (“I am studying Bollywood cinema.”). (Gordon Gray, x) Although, in this paper cinema will not be referred to as one of these in particular, but in general, the different meanings will be selected to portray different aspects of cinema, both new and old. Cinema is a medium of communication because it sends a message. A film has a reason for being made. For example, Crash; a movie by Paul Haggis — aims to show the role of race and class in the average society. The movie sends a message by showing that it is essential to wipe out racism in our communities because it fosters unnecessary hatred for people who may be helpful to us sometime. Cinema communicates to us in ways other mediums can’t. It uses visual, and audio (sometimes) to stimulate our minds, and make us aware of things t... ... middle of paper ... ...ma." (86 Quotes). N.p., n.d. Web. 18 Mar. 2014. . Taras, David, Maria Bakardjieva, and Frits Pannekoek. How Canadians Communicate: Media, Globalization, and Identity. Calgary: University of Calgary, 2007. N. pag. Print. "The Medium Is the Message." Prezi.com. N.p., n.d. Web. 22 Mar. 2014. . Thornham, Sue, Caroline Bassett, and Paul Marris. Media Studies: A Reader / Edited by Sue Thornham, Caroline Bassett and Paul Marris. New York: New York UP, 2009. Print. "TV IS THE NEW CINEMA: Putting 2013 Behind Us." Thompson on Hollywood. N.p., n.d. Web. 18 Mar. 2014. . Youngblood, Gene. "Synaesthetic Cinema: The End of Drama." Expanded Cinema. New York: Dutton, 1970. N. pag. Print.
Far too often, we are influenced mentally and socially by Media. The new millennium has accepted all sources of media has almost more prudent source of information. As defined by The Merriam Webster Dictionary , Media is “a medium of cultivation, conveyance, or expression (Smiler).” For the purposes of this essay, I will condense the broad spectrum of media and focus specifically on these forms : print media, television , movies, and the internet. Within the Written composition, A trifling media written by Shakira Smiler, she carefully examines piece by piece why she believes not only men are trifling but as well how media has influenced why it's acceptable. Within her exposition, she speaks to infidelity , immaturity, and specifically, seeing
5 Feb 2014. Fiske, John. The. Television Culture. London: Methuen & Co. Ltd, 1987: Ch. 78.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
So although some might think that Canadian content in media is in danger it really is not. Another issue that arises is culture proximity. “Cultural Proximity is the desire for cultural products as similar as possible to one’s own language, culture, history, and values” (Straubhaar and LaRose 2001, 522). Not only that, but Canadians tent do be exposed to a lot of content from the television and the radio. Depending on the age...
Flew, T., & Smith, R. (Canadian). (2011). New: Media An Introduction. Don Mills, Ontario: Oxford University Press p.
In his essay, “It’s Just a Movie: A Teaching Essay for Introductory Media Classes”, Greg M. Smith argues that analyzing a film does not ruin, but enhances a movie-viewing experience; he supports his argument with supporting evidence. He addresses the careful planning required for movies. Messages are not meant to be telegrams. Audiences read into movies to understand basic plotlines. Viewers should examine works rather than society’s explanations. Each piece contributes to Smith’s argument, movies are worth scrutinizing.
Any act of conscious communication always true, in varying degrees, two fundamental objectives. One is to inform, instruct and describe, and the other is to entertain or occupy. The products of the mass communication industry made that mandate the particularity that are targeted to a wide receiver, whose acceptance is intended to conquer. The intent of the act is expressed with the term broadcast (spread through mass media), which once meant to sow broadcast the farmland. The cinema, especially the US, is the great communication industry of the twentieth century. Although in recent decades seems to have given primacy to television, the information, education and entertainment on Western culture influence is undeniable.
The concept of ‘cinema of attractions’ encompasses the development of early cinema, its technology, industry and cultural context. The explanation of how it is perceived by early cinema audiences is closely related to the effects of history at that time. How Gunning coined the term ‘cinema of attractions’ pertains to the history of the film industry at the turn of the 20th century and his interpretation of the audience and their reaction film technology. Single shots, the process of creating a moving picture and the juxtaposition of limited techniques, coupled with a new invention of showing a moving picture.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Bazin, Andre. “Evolution of the Language of Cinema.” What is Cinema Volume 1, edited and translated by Hugh Gray, 23-40. Berkeley, Los Angeles, and London: University of California Press, 1967.
" Cinema and the Nation. Ed. Mette Hjort and Scott Mackenzie. New York City, NY: Routledge, 2000. 260-277.
Ott, B. L, & Mack, R. L. (2010). Critical media studies: An introduction. Malden, MA: Wiley-
Gauntlett, D. Hill, A. BFI (1999) TV Living: Television, Culture, and Everyday Life, p. 263 London: Routledge.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.