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Filmmakers and Film Criticism Video Essay Transcript

Video Essay Transcript for My Students For this film theory and criticism course, some of you may not find this very appealing, especially if you are more of a production person and not someone who would prefer spending more time in reading books about film theories and criticism and engage in intellectual discourse relating films watched with assigned readings. But think of this way, being filmmakers, knowing film’s roots, how it develops and how it manages to survive and thrive through

‘The Red Balloon’ Short Film Critique: Relationship and Poetry Through a Child’s Gaze

A short essay for my Film Theory and Criticism Class The 1956 French short film classic “The Red Balloon” (Le ballon rouge) features a tender drama with a fine touch of flight of fancy. Its subdued setting features a lot of grays, suggesting the depressing quality of the film’s mood and tone, which is then contrasted with the blazing red balloon in mid air.  This post-war motion-picture classic written and directed by Albert Lamorisse features a seemingly cynical world that turns magical

(Response Paper) Cinema as an Invention, Art, and Idealistic Phenomenon with Andre Bazin

In response to: “The Myth of Total Cinema” from the book “What is Cinema?” by Andre Bazin A response paper for my Advanced Film Theory and Criticism class The Andre Bazin reading “The Myth of Total Cinema” from his book “What is Cinema?” focused on the desire of humans to find a representation of reality as complete as possible, rooted from the innovations in cinema, by discussing techniques of mechanical reproduction of reality. This started in the nineteenth century, then carefully moved on

(Response Paper) Cinema and Ideology with Jean-Luc Comolli and Jean Narboni

In response to: The Jean-Luc Comolli and Jean Narboni essay “Cinema/Ideology/Criticism” from the journal “Screen” A response paper for my Advanced Film Theory and Criticism class This essay entitled “Cinema/Ideology/Criticism” by French writers Jean-Luc Comolli and Jean Narboni started with an introduction of the pioneering French film magazine Cahiers du Cinema, offering a general overview of its objectives, goals, and ideology. It also presented the perennial question “What is film?” and “What is cinema?” – questions that continue to linger around many

(Response Paper) Ideology, Reality, and the Apparatus Film Theory with Jean-Louis Baudry

In response to: The Jean-Louis Baudry essay “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema” from the Leo Braudy and Marshall Cohen book “Film Theory and Criticism: Introductory Readings” A response paper for my Advanced Film Theory and Criticism class In this essay “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema,” French psychoanalytic film theorist Jean-Louis Baudry asserted that cinema is, by nature, ideological. This is because films are created to represent reality and the mechanics

(Response Paper) David Bordwell: The Blurred Line Separating Art Cinema with Classical Hollywood Cinema

In response to: The David Bordwell essay “The Art Cinema as a Mode of Film Practice” from the journal “Film Criticism” A response paper for my Advanced Film Theory and Criticism class In the essay “The Art Cinema as a Mode of Film Practice,” American film theorist and film historian David Bordwell primarily discussed how art cinema can be considered as a distinct mode of film practice by comparing it to classical narrative cinema (which can be traced to studio feature filmmaking in Hollywood since

(Response Paper) Looking Beyond the Vestiges of Film Language

In response to: “Film Language,” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen A response paper for my Advanced Film Theory and Criticism class From formalist to realist to post-structuralist approaches, starting with montage and moving further with psychoanalysis and the system of the suture, the chapter “Film Language” in the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohenpresented how different film theorists, through the decades, have paved way to

(Response Paper) Film as Art vs. Film as Mechanical Imitation of Reality with Rudolph Arnheim

In response to: “Rudolf Arnheim: From Film as Art – The Complete Film” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen Film theorist Rudolph Arnheim started this chapter entitled “Rudolf Arnheim: From Film as Art – The Complete Film” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen with a sort of warning saying, “the technical development of motion picture will soon bring the mechanical imitation of nature

(Response Paper) Sigfreid Kracauer’s Photographic Reality, Cinematic Illusion, and Everything Else in Between

In response to: “Sigfried Kracauer: From Theory of Film – Basic Concepts” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen A response paper for my Advanced Film Theory and Criticism class In this reading entitled “Sigfried Kracauer: From Theory of Film – Basic Concepts” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen, realist film theorist Sigfried Kracauer highlighted the crucial role of photography in the development of moving picture.

(Response Paper) The Rise of the Seventh Art: Cinema as Art and Language with Andre Bazin

In response to: “The Evolution of the Language of Cinema” from the book “What is Cinema?” by Andre Bazin A response paper for my Advanced Film Theory and Criticism class Andre Bazin expressed in this reading “The Evolution of the Language of Cinema” from his book “What is Cinema?” his conviction that sound is not there to destroy cinema – it is just part of the natural development of the medium. In discussing film as an art and language, he presented how the cinema

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