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The Different Meanings of “Film Form”

Melenia Arouh


The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.

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About the Cover

Andrew J. Ball and Aleksandr Rybin

. Religion had a huge impact on ancient culture, one element of which was ancient Greek mythology. From mythology we learn about the historical events of that time, about the life of society and its problems. Also in the old days the church was one of the few

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Being Screens, Making Screens

Functions and Technical Objects

Mauro Carbone, Graziano Lingua, and Sarah De Sanctis

differentiation between the various historical-cultural configurations that have been gradually taken on by the related screen experiences. In fact, the “arche-screen” should be understood as a (musical) theme—or, according to the meaning of the Greek archˉe

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Interview with Paul Schrader

saw it as a layer cake. There's Kazantzakis's [book], which is Greek Orthodox. Then there's my background, which is Dutch Calvinist. And there's Marty's background, which is Italian Catholic. And I said: Isn't this a fascinating layer cake? A prism

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A Body of Texts

Memento and Mētis

Jeremy Tirrell

Detienne and Jean-Pierre Vernant's ( 1991 ) Cunning Intelligence in Greek Culture and Society provides a book-length explication of mētis that the authors admit is incomplete. The terms’ implications are far-reaching and somewhat ambiguous, as they deal

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

metaphorical import through images and nonverbal sounds alone. I have also confronted an occidental “myth” in my work, namely the ancient Greek myth of Sisyphus, although to understand it in these theorists’ terms beckons some reconsideration. Normally, it

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Steven Eastwood

with detail, giving the world of the story familiarity and credibility. 3 The word camera derives from the Greek word “kamara,” which means chamber or vault but also interestingly has root fragments to do with taking (remember that Anne “takes” Sally

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

derived from the Latin elementum , translating the Ancient Greek word stoicheion ; in ancient post-Platonic philosophy, the term referred to the basic physical principles (or more poetically, the “letters of the alphabet” of the Book of Nature) that

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Dramatic Irony

A Case Study in the Mutual Benefit of Combining Social Neuroscience with Film Theory

Cynthia Cabañas, Atsushi Senju, and Tim J. Smith

dramatic irony. Dramatic Irony as a Powerful Narrative Tool Use of Dramatic Irony in Filmed Narrative The use of dramatic irony has been present in fictional narratives since their very beginning. It is a key element in Greek tragic style (e

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Pain and the Cinesthetic Subject in Black Swan

Steen Ledet Christiansen

subject to forces outside or inside of her. I use the term ecstasy to refer to Nina’s transformation precisely because ecstasy comes from the Greek ekstasis , meaning to stand outside oneself. This is precisely what Nina achieves and is what turns her