Film Theory¶
Stam, R. (2000). Film Theory: An Introduction. Blackwell.
Cited by¶
1 citation across 1 artifact.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Mimesis
- Aristotelian drama — the origin, where poetry represents the kinds of things that could happen, targeting the general through the particular. Renaissance perspectival painting — the shaping of a scene to make spatial depth and a unified viewpoint visible that the flat surface in itself would not deliver. The realist novel — selective re-presentation of action and character toward an intelligible portrait of a world. Sculpture — the rendering of a body or action in a medium whose fidelity profile preserves form while sacrificing color, motion, and scale. Modernist refiguration — the deliberate distortion of the source (Brechtian denaturalization, cubist fracture) as the instrument of a different made-visible. Film theory — photographic, montage, and digital cinema, each implementing a different mimetic theory of how moving images stand to recorded reality.
This sourceStam's Film Theory treats photographic, montage and post-cinema/digital film theory as distinct approaches.
Supported in partVerified against the work's full text
“convey very [different] emotional effects (hunger, grief, etc.). 38 The Soviet [Montage]-Theorists It”
- Aristotelian drama — the origin, where poetry represents the kinds of things that could happen, targeting the general through the particular. Renaissance perspectival painting — the shaping of a scene to make spatial depth and a unified viewpoint visible that the flat surface in itself would not deliver. The realist novel — selective re-presentation of action and character toward an intelligible portrait of a world. Sculpture — the rendering of a body or action in a medium whose fidelity profile preserves form while sacrificing color, motion, and scale. Modernist refiguration — the deliberate distortion of the source (Brechtian denaturalization, cubist fracture) as the instrument of a different made-visible. Film theory — photographic, montage, and digital cinema, each implementing a different mimetic theory of how moving images stand to recorded reality.
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