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Sitzblitz's List: Film DCBS Industry

    • Film encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects
    • Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating — or indoctrinating — citizens. The visual elements of cinema gives motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.
    • But in a weaker sense, we can think of “independent media” as media that is free of government or corporate influence. This is probably what most have in mind when thinking about this class of institutions. And there are plenty of media projects that exisit now in U.S. which exhibit strong independence in this regard.
    • How this freedom translates into media performance is that journalists, analysts, and ordinary citizens are able to report and analyze past and unfolding events in a way that isn't constrained by the interests of society's major power-broakers—government and corporate. It's this feature that distinguishes independent media from the U.S. mainstream mass media.
    • However, the term became most popularized in film[link] theory, due to the work of François Truffaut in the 1950s.1
    • However, the term became most popularized in film[link] theory, due to the work of François Truffaut in the 1950s.1

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    • <div class="site-inner"><div class="content-sidebar-wrap"><main role="main" itemscope="itemscope" itemtype="http://schema.org/Blog" itemprop="mainContentOfPage" class="content"><article itemscope="itemscope" itemtype="http://schema.org/BlogPosting" itemprop="blogPost" class="post-542 post type-post status-publish format-standard has-post-thumbnail category-screenwriting tag-alfred-hitchcock tag-good-will-hunting tag-macguffin tag-north-by-northwest tag-psycho tag-pulp-fiction tag-the-secret-of-nimh entry"><div itemprop="text" class="entry-content"><div style="border: 3px solid #74D674; background-color: #ccffcc; padding: 15px; margin: 15px;"><div class="zedity-wrapper" id="zed_fu978did"><p></p><p><img width="485" height="270" src="http://www.elementsofcinema.com/images/good_will_hunting_macguffin.jpg" alt="Good Will Hunting Matt Damon"></p></div></div><p>&nbsp;</p><div style="border: 3px solid #FCA853; background-color: #ffdfbf; padding: 15px; margin: 15px;"><div class="zedity-wrapper" id="zed_fu978did"><h3 align="left">Are MacGuffins absolutely necessary?</h3><p align="left">Well, no. Many movies work without one. But they do add interest and dynamism to the plot. Your screenplay will determine whether or not you need an object or another element to make the story whole.</p><p align="left">Many young filmmakers focus on people too much and overlook how important objects can be. Objects, in general, and MacGuffins, in particular, allow the filmmaker to add variety to their shots, as in this shot from Psycho.&nbsp;<img width="274" style="margin-top: 10px; margin-bottom: 10px; margin-left: 10px;" height="180" src="http://www.elementsofcinema.com/images/psycho_money.jpg" class="fltrt alignnone" align="right" alt="psycho money"></p><p align="left">Also, if you don’t have a MacGuffin to drive your film, consider having it to drive some scenes. This can add dramatic tension to a sequence. In the animation&nbsp;<em>The Secret of NIMH</em>&nbsp;(1982), excitement is added to an otherwise simple chase, as Mrs. Brisby (a mouse) has to elude Dragon (a cat) while also not losing an envelope that contains her pneumonic son’s medicine. Instead of simply running, Mrs. Brisby now has to make sure that she won’t lose the medicine. This is good storytelling.</p></div></div><p>&nbsp;</p><div data-link="http://www.elementsofcinema.com/screenwriting/mcguffin/" data-title="MacGuffin" data-summary="" data-app-id="6773350" data-app="share_buttons" class="shareaholic-canvas"><div style="height: auto; display: block;" class="shareaholic-share-buttons-container shareaholic-ui badge-counter"><div class="shareaholic-share-buttons-wrapper shareaholic-ui"><div class="shareaholic-share-buttons-heading"><img class="shareaholic-share-buttons-heading-image" src="//dsms0mj1bbhn4.cloudfront.net/assets/pub/share-buttons/share-headers-new/sharing-caring.png"></div><ul class="shareaholic-share-buttons"><li title="Twitter" style="display: list-item;" data-service="twitter" class="shareaholic-share-button"><div class="shareaholic-share-button-container"><span class="share-button-counter">0</span><a><i class="shareaholic-service-icon service-twitter"></i><span class="share-button-verb"><b>Share</b></span></a></div></li><li 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href="http://www.elementsofcinema.com/tag/alfred-hitchcock/" rel="tag">Alfred Hitchcock</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/good-will-hunting/" rel="tag">Good Will Hunting</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/macguffin/" rel="tag">MacGuffin</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/north-by-northwest/" rel="tag">North by Northwest</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/psycho/" rel="tag">Psycho</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/pulp-fiction/" rel="tag">Pulp Fiction</a>, <a rel="nofollow" href="http://www.elementsofcinema.com/tag/the-secret-of-nimh/" rel="tag">The Secret of NIMH</a></span></p><div class="after-entry widget-area"><div class="wrap"><section class="widget widget_text" id="text-2"><div class="widget-wrap"><h4 class="widget-title widgettitle">Couldn’t find what you are looking for?</h4><div class="textwidget"><p>Try this 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    • Simply put, a MacGuffin is an object of interest around which the plot revolves. The term was made popular by director Alfred Hitchcock, who constantly used both the name and the technique.

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    • Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view.
    • These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion.

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    • As such, in conversation with Lefebvre’s portrait of the rhythmanalyst and other works interested in the significance of rhythm to social practices, the paper proposes time-lapse photography as a useful component of such a rhythm-analytical, and more generally practice-orientated, methodology. In doing so, the paper draws attention to this method’s ability to document and facilitate the reflection upon the complex durational unfolding of events and the situation of key occurrences within this polyrhythmia.
    • Time-lapse photography – the extremely accelerated recording and projection of an event taking place over an extended duration of time – is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapse's tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.
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