Short Answer Questions

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Cinematic specificity refers to the specific qualities or characteristics that distinguish film from other media and art forms. Theorists seek to answer the question: What properties or qualities are unique to the cinema? This question has been one of the reigning questions of film theory, and it has received renewed attention since the advent of the digital era and the emergence of new technology and, thus, changes in film and the filmmaking process. In some contemporary films, for instance, the image is no longer the product of the physical contact between light and its referent; instead, the properties of the image are digitally coded and thus mutable.

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While fellow Soviet film director Vsevolod Pudovkin used montage to break down a scene and focus the spectator’s view and understanding, Eisenstein used the same technique to emphasize the effects of collision between shots. Eisenstein believed that through juxtapositions and collisions of images the spectator could be provoked both emotionally and intellectually.

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The term realism first came into use in the nineteenth century as a way to describe novels that emulated the experiences of everyday life. Since literary realism was distinguished by its vivid descriptiveness—a characteristic that is inherent in the photographic basis of cinema—it was no wonder that, as film grew in popularity, theorists used the same term in relation to cinema. For theorists such as Bazin and Kracauer, film’s ability to capture spaces and events in real time sets it apart as a realist medium. In contrast, other film theorists view film form as fundamental and use realism to describe a style that uses this form in a particular way.

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Auteur theory, the view that a film bears the creative stamp or imprint of one individual (typically the director), emerged in the 1950s when specific directors were vocally championed by the French critics of the journal Cahiers du cinéma. The journal promoted what its writers called “la politique des auteurs” a “policy” or doctrine of singling out for praise certain filmmakers whose distinct styles made their films immediately identifiable. Their concept of authorship was applied not only to directors of “art cinema,” but also to certain directors working in the Hollywood studio system, such as Orson Welles and Samuel Fuller, who managed to leave a personal stamp on their films.

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Poststructuralism includes the many areas of thought—from psychoanalysis to postcolonial and feminist theory—that question the norms and fixed definitions of structuralist ideals. For example, the idea that a satisfying film ties up all its loose ends is a structuralist position that identifies closure as a basic narrative element. Poststructuralism, in contrast, stresses the open-endedness of stories and challenges structuralism’s neatness of structure and assumption of objectivity. Contemporary film theory tends to focus on poststructuralist themes such as psychoanalysis, apparatus theory, and spectatorship.