Tag Archives: Cinema Studies

Alternative Theory

Brotherhood of Blades is one of the coolest martial arts films in recent years. And that’s why I choose it as a case for my topic: Martial Arts Film as Attractions. So on the one hand, the medium is supposed to be cool and an attraction itself as well; on the other hand, it must show great logic and connections between the theories I refer and cite in my paper. Through the simple figures and the relative ubiety between them, Prezi satisfies both requirements and further inspires me to simplify and visualize my theory. What’s more important, Prezi has a quite similar function with the camera lens, for it can zoom in and out, and it acts as our eyes to enjoy the theory, as our hands to touch the theory, and as our feet to go near the theory. I believe it is perfectly suitable for our class “Film Theory Through the Senses.”

When I was preparing the Prezi, I found a wonderful thing that background will move together with the theory mapping. So I customized the background to create the effects that the end of the presentation, the whole picture will be upside down. I want to show my respect for the film in this way, because the entire story is related to the reversion of fate, and the thoughts about whether the insignificant have the ability to change it. By giving all the pictures to their right position, I want to offer my own answer to this question.

Here is the URL of my Prezi. Hope you will like it, and have a better understanding of Chinese martial arts film through my Prezi.







Theory Response: Similarities & Differences


Also, in spite of not mentioning the boundary between scriptwriter and director, I still believe that Vertov will support Astruc’s argument that scriptwriters are disappearing. For the genre as the newsreel, the reality weighs more than the editing. What’s more, snapshot means the quick seeking and capturing of eyes, so writing the script is not only pointless but also impossible. But the question is coming later: can the reality cover all the subjects, all the contents to the extent that we don’t need the melodrama, fiction film, and the works filled with pure imagination? Here comes their second divergence. Vertov excludes any genre except the newsreel while Astruc claims that cinema can handle any subject and any genre, which implies his open opinion on not only what but how these themes are woven into the film. It is two directions of one thing: replacing all the other things (turning into a monopolist), or coexisting with anything (turning into a language).

Beyond the simple relationship of similarity and differences, there are some more far-reaching connections between these two theories — there is a historical evolution involved. Looking at their schools of thoughts, the camera work in “Kino-Pravda” series, which perfectly illustrates Vertov’s combining theory with practice, inspires the filmmaking of Cinéma vérité. Cinéma vérité, also called observational cinema, sometimes is classified as a part of the French New Wave, for which Astruc’s this article is regarded as the first proclamation.