Cinema Studies: The Key Concepts

Agami (The Time Ahead, 1984), the First “Short Film” of Bangladesh: Toward a New Cinematic Aesthetic of Imaging Time and Nation

“…Although this intimate scene to some extent reproduces the patriarchal ideology of mainstream narrative cinema by integrating the male gaze and denying female subjectivity, it nevertheless at some point breaks with the illusory “seamless realism” usually found in such cinema (Hayward, 2005, p. 311). 5 The “visual pleasure” of the sex scene is next disrupted by the insertion of war imagery.…”

“…Here it is important to note that “Third World Cinema” should not be confused with the term “Third Cinema.” “Third Cinema” was coined by Argentinian film directors Fernando Solanas and Octavio Gettino and is considered as counter-cinema, voicing the revolutionary spirit and perception during a time of political upheaval (1976). And “Third World Cinema” refers to the cinemas of the Third World, from the African continent, the Indian subcontinent, Middle Eastern territories, China and Asian territories, to Latin America (Hayward, 2005, p. 398). These films are with diverse characteristics, and function as cultural and ethnographic forms, narrating the histories, cultures, myth, allegory, and memories of the nation.…”

“…These films are with diverse characteristics, and function as cultural and ethnographic forms, narrating the histories, cultures, myth, allegory, and memories of the nation. Although they are not with such a strong “revolutionary spirit” like Third Cinema, they also have the desire to create the “film aesthetics of decolonization” (Hayward, 2005, p. 406). The independent films of Bangladesh as Third World Cinema are mostly concentrated on the shaping of national identities of Bangladesh through their depiction of history, myths, traditions, and memories.…”

Deconstructing Disney's divas: a critique of the singing princess as filmic trope

“…Whereas psychoanalytic film theory was initially largely focused on developing an understanding of the various means through which cinema constructs the spectator as subject through confrontation with the filmic image (Hayward 2000: 300-301), post-structuralist cinema studies have increasingly tended away from such concerns towards an understanding not of cinematic pleasure but of subjective jouissance, thus of desire and fantasy. Whereas pleasure derives from a closure or suture of the Lacanian Imaginary and the Symbolic in the filmic experience, jouissance derives from the "extra-discursive", from the "enjoying body" and from "modes of narration that do not provide closure" (Ibid: 303).…”

Creativity support for novice digital filmmaking

“…With a continuous object in focus, sequential cameras should be placed more than 30 degrees apart. Violating this rule results in a noticeable jump in the action, called a "jump cut" that interrupts the illusion of continuity and draws attention to the camera work itself [10].…”