Abstract
Often the cinematographic elements of a film are seen only as a conduit for communicating narrative, rather than embodying aspects of meaning in the way that they are constructed.
Traditional film studies always had a literary bias, with a fixation on narrative, character and the thematic ideas underpinning stories. The technicalities of cinematography were often seen as a means to an end, i.e. to get the story on the screen. Cinematographic images can simply convey narrative information to audiences, placing us in a location or showing us an action. Alternatively they can communicate meaning in the way they are constructed. Composition, movement and light can all imply meaning that is distinct from the events being filmed.
Traditional film studies always had a literary bias, with a fixation on narrative, character and the thematic ideas underpinning stories. The technicalities of cinematography were often seen as a means to an end, i.e. to get the story on the screen. Cinematographic images can simply convey narrative information to audiences, placing us in a location or showing us an action. Alternatively they can communicate meaning in the way they are constructed. Composition, movement and light can all imply meaning that is distinct from the events being filmed.
| Original language | English |
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| Publication status | Published - 27 Oct 2018 |
| Event | Analytic Aesthetics and Film Studies - UNiveristy of Warwick, Coventry, United Kingdom Duration: 26 Oct 2018 → 27 Oct 2018 https://aestheticsfilmstudies.weebly.com |
Conference
| Conference | Analytic Aesthetics and Film Studies |
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| Country/Territory | United Kingdom |
| City | Coventry |
| Period | 26/10/18 → 27/10/18 |
| Internet address |