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cine101 : Film Art : Poetics
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CINEMATIC STORYTELLING The 100 Most Powerful Film Conventions Every Filmmaker Must Know
by Jennifer Van Sijll [7 x 11 Wide Screen Format 500 film frames from referenced movies. 75 excerpts from referenced scripts. 272 pages] 1-932907-05-x profile anatolant08

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... Posted: May 21, 2007 12:42 AM : I couldn't make it through all 28 pages on this forum unfortunately so if I repeat what someone says my deepest apologies.

I am someone who uses the terms "movie" and "film" very specifically, especially when I'm writing essays and reviews, because of the intentions behind the film. In my mind if a moving picture is made to earn profit, it's a movie (i.e. Mission Impossible, Employee Of The Month, any mainstream horror remake, etc.) However if it's a project of passion and thought to be art by the creators or viewers (which I realize is very subjective, ) then I consider it to be a "film" (i.e. Citizen Kane, The Good German, and film from the French New Wave, etc.)

Now that's not to say that the terms don't overlap. There are definitely crossovers. For instance, by my mindset, I would consider Napoleon Dynamite a "film" because it wasn't made with the intention of turning a 40 million dollar profit, but because it injected itself into pop culture and mainstream way of life it definitely treaded upon "movie" grounds. Same with movies like Casablanca, Pan's Labyrinth, or Seven Samurai... even Star Wars I think was a passion project, but maybe even made knowing it'd turn a profit.

One thing that I think should be mentioned, however, is the term "film" can also be viewed as a synonym for "celluloid" which, obviously, is being used less and less and being replaced with digital and HD. So I'm also under the mindset that I may change using the term "film" for something more fitting for more modern releases. Perhaps the word "cinema", although to me that is kind of an all-encompassing word.
from film forum at [ "when does a movie become a film" ] for


... Visual Thinking - Rudolf Arnheim : The Intelligence of Vision: An Interview with Rudolf Arnheim
Rudolf Arnheim, who began in the 1920s to apply Gestalt psychology to art, was born in 1904 in Berlin. He studied psychology, philosophy, art history, and music history at the Friedrich Wilhelm University in Berlin, where he received a doctorate in 1928. Beginning in the mid-20s he wrote articles and reviews on film, art and literature, finally becoming an editor at Die Weltbühne. In 1939 Arnheim emigrated via Rome and London to the United States. Though little-known in Germany, Arnheim has had a strong influence on art history and art psychology in America, where he taught at Sarah Lawrence College, the New School for Social Research, Harvard University, and the University of Michigan. His books, including Film as Art (1932), Art and Visual Perception (1954/1974), Visual Thinking (1969), Entropy and Art (1971), The Dynamics of Architectural Form (1977), and The Power of the Center: A Study of Composition in the Visual Arts (1988), as well as a great number of his essays, have been translated into many languages. Rudolf Arnheim currently lives in Ann Arbor, where he spoke with Uta Grundmann.

"Gestalt psychology was basically a reaction to the traditional sciences. A scientific experiment was based primarily on breaking down its object into single parts and defining them. The sum of the defin-itions then corresponded to the object. By contrast, the Gestalt psychologists, referring among other things to the arts, emphasized that there are common connections in human nature, in nature generally, in which the whole is made up of an interrelationship of its parts and no sum of the parts equals the whole. Every science has to work with the whole structure. Gestalt theory also says that the factual world is not simply understood through perception as a random collection of sensory data, but rather as a structured whole. Perception itself is structured, is ordered. This also concerns art. The work of art was a prime example of a Gestalt for my psychology teachers."

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