Aliens in the characters of Autobots (Optimus Prime et al.) and Decepticons were conveyed to be so real with the cinematography and so realistic that we are tempted to believe. The audience knew that Autobots, Decepticons and their planet Cybertron do not exist but the technological spectacle of putting them on screen was so incredible real that we couldn’t help think it was all true. The visual rendering was so effective and intense that it could even be taken as overkill in the use of technological visuals; the appeal of the film rests mainly on visuals in recognition of the audience’s increasing “attention deficit disorder”. According to Crary the 19th century Western mass entertainment is obsessed due to the perceived breakdown in attention of the audience such as the use of trance, reverie, monomania and hypnosis (1999), which in this case is technological spectacle. The argument of Jean-Louis Baudry could be valid especially in the trailer of the film Transformer that is being critiqued. The plot is really simple to the point of being predictable that inferring to street parlance, it is a “no brainer” because the story of two warring groups be it Autobots and Decepticons or other entities and the idea of the world being invaded by aliens is already a cliche yet we are engrossed with the film. The use of “technological spectacle” was so effective that the audience in general did not mind the simplicity of the story for as long as they are enthralled with the sophistication of the film that it blurred the line between what is real and fiction/magic. In general, the film can be taken as a mere eye candy whose appeal is anchored on its visual that if you cannot engage the audience with your plot, you can instead awe them, a principle consistent with Baudry’s argument in his work “Ideological Effects of the Basic Cinematographic Apparatus". In the work, Baudry posits that the cinematography of the film itself, such as that of the movie Transformers is a process of transformation that is transcendental that the eyes itself is given a temporary sense of freedom and movement (1970) by forgetting the technological and even physical implausibility of benevolent aliens (Autobots) being with us and evil aliens (Decepticons) invading us. What used exist in our dreams about the existence of aliens was given reality in the film, presented in a technological magic that is so convincing we would like to believe it is real. Galison articulated how this technological development in film made possible. Film making is no longer an exclusive province of arts of retelling or narrating stories but also became a stage to showcase technology and its sociology. The intertwining of the streams of film and hard science provided depth and explanation in the rendition (1997) of a particular genre such as the film Transformers: Dark Moon where the audience became curious how would the film maker Michael Bay would make the animation Tranformers (its original version was animation) look real in the big screen interacting with humans. And the rendition and cinematography was so realistic that the film extended into three installments suggesting the successful integration between visualization and computational use of data that were so intense in the film that it became its central appeal. This phenomenon of integrating science in films (even if its logic is implausible) is not unique to Transformers but is also present in other
A New Development in Screen and Film Theory: The Magic and the Real Perhaps the most appropriate film that would best encapsulate new developments in screen and film theory, particularly in rendering “magic” to the big screen that makes it so real is Transformers 3: Dark of the Moon…
The paper tells that in an effort to articulate the changing nature of the medium, theorists such as Andre Bazin and Siegried Kracauer explored many of these formal and technical tendencies. This essay examines many of these theorists’ foundational perspectives, and considers what these terms mean in the context of Francis Ford Coppola’s film Tetro.
Today, it has become a profession and a skill, and we have dedicated film schools to teach the techniques of making quality films and connecting to the audience. However, what is commonly accepted as a fact that films or cinema belong to the art world is not such a simple concept in the artworld itself, and there is an ongoing debate about its exact categorization (Prinz).
Magic bullet theory of the media asserts that individuals are passive consumers of misleading information from the media. The theory asserts that the media acts as magic bullets that enter into passive brains of individuals who are incapable of controlling the nature of the information. The media injects messages directly to a passive audience.
His home life consists of a messy public divorce and an affair with a US Senator’s daughter. The antagonist, Bruno, offers a deal in which the two men trade murders. Bruno will kill Guy’s wife if Guy will murder Bruno’s father, allowing Bruno to inherit a fortune.
According to the paper to fully appreciate and understand the crucial roles sound design and film music are playing in modern cinema, we need to look at the evolution of cinematic sound and the effect it had on film aesthetics and narratives. The musicians would either improvise or use well-known classical compositions.
Technically, it has gained major notice for its visual mastery and it has pushed the limits of digital developments as it has also prompted other film-makers to make the transition to the rich digital format. The digital genre however has not been widely accepted, especially among filmmakers who value the more subtle and more cerebral narrative construction in film.
implicative human perceptions created through media presentations of Hawaii 5-O and Giligan’s Island, this document shall explain how issues of development on the part of the pacific has been projected by the American society.
During the 1920’s America is considered to be
It was first published in 1924 and birth to the genre of fantasy fiction.
The King of Elfland’s Daugter is a book about magic; about the perils of inviting magic into your life; about the magic that can be found in the mundane world, and the distant,
6 pages (1500 words)Essay
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