This week I conducted a very in-depth academic discussion and research on this The major film theories: an introduction.
We can think of filmmaking as a window through which we can see the world. Cinematic art is a product of the tension between representation and transformation. “Its aesthetic basis is not what the world already presents, but the aesthetic use of the things or methods of presenting the world.”(p148) Jean Millet believes that “only after overcoming the dramatic aesthetics such as constant angle and duration, can film become an independent art from theater” (Andrew, 1976, P107) And in order to create a self-sufficient work, the traditional artist always represses the real (however realistic the purpose may be)…he simply experiences again (in a new way) the patterns that shape his daily life and behavior… (p159) Movies are a bottom-up technological process, which starts from nature and integrates our thinking with nature. It enables us to rediscover the world itself that has been occupied by scientific knowledge and forgotten by us. Cinema must submit to a purely psychological world, exchanging the connections between appearances in the real world for connections of a psychological nature. The greatest difference between a film and a dream is its integrity. “Whereas a dream evokes certain fantasies and emotions” that confuse or euphoria us in our waking hours, a beautiful film dissipates the energy it exploits. It takes “natural representations, reorganizes” (p208) them in the order of mental operation, and finally evokes our emotions. It puts these representations in the right order, “giving them a final sequence that obeys only the laws of the operation of the mind”, thus excluding the chaos of reality and allowing the viewer to complete a complete experience. “The viewer indulges in the things of the imagination, lost in a world detached from the needs and wants of reality”
Bibliography
Andrew, J.D., 1976. The major film theories: an introduction. Oxford University Press, Oxford.