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(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) 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

(Response Paper) The Mythology of Roland Barthes: Studying the Semiological Nature of Myth

In response to: The section “Myth Today” from the book “Mythologies" by Roland Barthes A response paper for my Advanced Film Theory and Criticism class In reading French literary theorist, philosopher, critic, and semiotician Roland Barthes’ “Myth Today” from his book “Mythologies,” I found myself more open to the nature of cinema as a theoretical discussion. In presenting the groundwork for semiology and its relationship to myth, I got to the starting point of examining current forms of existence and revealing the ideological

(Response Paper) The Evolution of Cinema and the Film Language with Alexandre Astruc

In response to: The Alexandre Astruc essay “The Birth of a New Avant-garde: La Caméra-Stylo” from the article originally printed in “L'Écran française” as "Du Stylo à la caméra et de la caméra au stylo"  A response paper for my Advanced Film Theory and Criticism class This 1948 essay by French film critic and film director Alexandre Astruc entitled “The Birth of a New Avant-garde: La Caméra-Stylo” reminded me of the wonders in the evolution of art and technology. It is natural to see

(Response Paper) Film Semiotics in the Earlier Lens of Christian Metz

In response to: The chapter “Some Points in the Semiotics of the Cinema” from the book “Film Language: A Semiotics of the Cinema” by Christian Metz A response paper for my Advanced Film Theory and Criticism class Being not very much used to the way it approached its scientific methodology, particularly his semiotic approach to film studies, I found the chapter “Some Points in the Semiotics of the Cinema” from French film theorist Christian Metz’s seminal work “Film Language: A Semiotics of the

(Response Paper) Elizabeth Spelman: Centuries of a Woman’s Body as a Gift and as a Curse

In response to: The Elizabeth Spelman essay “Woman as Body: Ancient Contemporary Views” from the journal “Feminist Studies” A response paper for my Advanced Film Theory and Criticism class I find philosopher Elizabeth Spelman’s “Woman as Body: Ancient Contemporary Views” as an eye-opening essay. It helped me better understand the oppression of women through the centuries, while making me realize the importance of really knowing iconic figures in history more than the popular accounts about them. This becomes of extreme importance in the case of

(Response Paper) Understanding Andrew Sarris’ Premises of the Auteur Theory

In response to: The Andrew Sarris essay “Notes on the Auteur Theory in 1962” 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 American film critic Andrew Sarris’ “Notes on the Auteur Theory in 1962” expressed the concerns about the auteur theory, particularly outside the insights coming from the French thinkers and the film magazine Cahiers du Cinema. Unlike Francois Truffaut in his essay “A Certain Tendency

(Response Paper) The Thrill of the Senses: Pauline Kael’s Wedge Against Andrew Sarris’ Auteur Circles

In response to: The Pauline Kael essay “Circles and Squares” originally published in the journal “Film Quarterly” A response paper for my Advanced Film Theory and Criticism class The doctrine of the auteur as established by American film critic Andrew Sarris was literally lambasted by another American film critic who I think is an “auteur” in her own field – Pauline Kael. Although I didn’t always agree with her insights, being generally fond of the vim and vigor of her writing style and

(Response Paper) Finding Legitimacy on Film Criticism and the Value of Film Literacy

In response to: “On Poetics and Practice of Film Criticism in the Philippines - A Roundtable Discussion and Videos” by Patrick Campos, published at the Plaridel Journal A response paper for my Advanced Film Theory and Criticism class After watching over 3 hours, 40 minutes of productive discussion of the University of the Philippines Office of Research and Publication project entitled "On Poetics and Practice of Film Criticism in the Philippines - A Roundtable Discussion and Videos," it was interesting and eye-opening

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