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I made a remix video. This is my first time editing. I reinterpret clips from Citizen Kane(1941), The Lady from Shanghai(1949), The Structure of Crystal(1949), Last Year at Marienbad(1961), Mirror(1975), and The Double Life of Véronique(1991) to explore Gilles Deleuze’s concept of the “crystal-image”. In these films, the actual image often intertwines with recollection-images and virtual-images. The protagonists are
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In Memoria (2021), Thai director Apichatpong Weerasethakul draws audience into a serene, surreal realm defined by sound. Starting with an intriguing yet straightforward premise, a woman perceives a booming noise unheard by others. From the sound, the film gradually transforms into a profound exploration of memory, perception, and existence. Here, sound runs through the whole
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In the article “Ideological Effects of the Basic Cinematographic Apparatus,” Baudry explains that cinema imitates “perspective artificalis” and that projection transforms differentiated frames into a continuity of movement, immersing the viewer in an illusion. He argues that ideology is reproduced through the apparatuses of cinema. This ideological effect is accentuated through the three phases of
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Thomas Elsaesser and Malte Hagener’s discussion on “Digital Cinema and Film Theory Digital Cinema” seems less captivating and less original than earlier chapters, which resemble a literature review that weaves together the theories of Lev Manovich, Vivian Sobcheck, Jay David Bolter, Richard Grusin, and Henry Jenkins. Considering the intertwining of different theories, I sense a
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According to Metz and Baudry’s spectator theory, the spectator is anchored in the cinema, making eye contact with the screen. They argue that the camera lens resembles perspective, linking viewing to the Renaissance period and providing viewers with a vanishing point for observation. Nevertheless, they did not consider the possibility that watching a film encompasses
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Some details in the Venezia 70 Future Reloaded(2013) exhibit some interesting points. Firstly, the curriculum depicted in the film illustrates how Chinese film scholars evaluate Western classics. The appreciation list features Triumph of the Will(1935), The Sound of Music(1965), Forrest Gump(1994), and Transformers(2007), which includes documentaries, commercial films, and musicals. For Chinese filmmakers, these films
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Dimitris Eleftheriotis’s insights on the traveling gaze and Greek subjectivity in film enhance our understanding of transnational cinema(national cinema). Elftheriostis points out that, compared to Ulysses Gaze(1995), the long shot of Istanbul’s urban landscape in A Touch of Spice(2003) demonstrates a command over the city’s visual environment. The camera smoothly transitions from a prominent building
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Just as bell hooks advocates “an oppositional gaze” that highlights the unique experiences of African American women compared to white women, in “Difference: A Special Third World Women Issue,” Trinh T. Minh-ha emphasizes that the challenges faced by women in developing countries differ from those encountered by Western white women. Trinh T. Minh-ha argues that
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By metaphorizing and comparing film to a window and frame, Thomas Elsaesser and Malte Hagener categorize film into two modes: window/frame and closed/open forms. However, their intent is to suggest a way to overcome the long-standing and deeply rooted opposition between realists and constructivists. While I find their diversion of the theories and analyses of
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Buster Keaton’s well-known film Sherlock Jr. (1924) featured exquisite scene changes and perfectly edited chase scenes, which many subsequent comedies have worshipped. However, this article will focus on the meta-cinema of Sherlock Jr. (1924), utilizing a oneiric narrative structure and screen mirroring reflections to shape the form of spectatorship. Unlike some famous meta-films, Buster Keaton
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shuqin Yan 