In its short history, the art of motion pictures has frequently undergone changes that seemed fundamental
A number of factors immediately come to mind in connection with the film experience. For one thing, there is something mildly hypnotic about the illusion of movement that holds the attention and may even lower critical resistance. The accuracy of the film image is compelling because it is made by a nonhuman, scientific process. In addition, the motion picture gives what has been called a strong sense of being present; the film image always appears to be in the present tense. There is also the concrete nature of film; it appears to show actual people and things.
No less important than any of the above are the conditions under which the motion picture ideally is seen, where everything helps to dominate the spectators. They are taken from their everyday environment, partially isolated from others, and comfortably seated in a dark auditorium. The darkness concentrates their attention and prevents comparison of the image on the screen with surrounding objects or people. For a while, spectators live in the world the motion picture unfolds before them.
https://vk.com/@643649144-detective-conan-the-movie-the-scarlet-bullet-2021-hd-online https://vk.com/@643649144-detective-conan-the-movie-the-scarlet-bullet2021 https://vk.com/@643649965-detective-conan-the-movie-the-scarlet-bullet2021 https://vk.com/@650899657-matky-cel-film-2021 https://vk.com/@650923084-hd-man-in-love-2021 https://www.guest-articles.com/news/fighting-the-covid-19-epidemic-in-2021-22-04-2021 https://www.thewyco.com/business/essential-characteristics-of-film-22-04-2021 https://myanimelist.net/blog.php?eid=850962 https://sambolos.cookpad-blog.jp/articles/590288 https://gumroad.com/gogon https://m.mydigoo.com/forums-topicdetail-264464.html https://bayubhe.hashnode.dev/intensity-intimacy-ubiquity https://blog.goo.ne.jp/selenamcgowan02/e/eb2ff26f22f1580ce5fd9d4db34300e7
Still, the escape into the world of the film is not complete. Only rarely does the audience react as if the events on the screen are real — for instance, by ducking before an onrushing locomotive in a special three-dimensional effect. Moreover, such effects are considered to be a relatively low form of the art of motion pictures. Much more often, viewers expect a film to be truer to certain unwritten conventions than to the real world. Although spectators may sometimes expect exact realism in details of dress or locale, just as often they expect the film to escape from the real world and make them exercise their imagination, a demand made by great works of art in all forms.
The sense of reality most films strive for results from a set of codes, or rules, that are implicitly accepted by viewers and confirmed through habitual filmgoing. The use of brownish lighting, filters, and props, for example, has come to signify the past in films about American life in the early 20th century (as in The Godfather [1972] and Days of Heaven [1978]). The brownish tinge that is associated with such films is a visual code intended to evoke a viewer’s perceptions of an earlier era, when photographs were printed in sepia, or brown, tones. Storytelling codes are even more conspicuous in their manipulation of actual reality to achieve an effect of reality. Audiences are prepared to skip over huge expanses of time in order to reach the dramatic moments of a story. La battaglia di Algeri (1966; The Battle of Algiers), for example, begins in a torture chamber where a captured Algerian rebel has just given away the location of his cohorts. In a matter of seconds that location is attacked, and the drive of the search-and-destroy mission pushes the audience to believe in the fantastic speed and precision of the operation. Furthermore, the audience readily accepts shots from impossible points of view if other aspects of the film signal the shot as real. For example, the rebels in The Battle of Algiers are shown inside a walled-up hiding place, yet this unrealistic view seems authentic because the film’s grainy photography plays on the spectator’s unconscious association of poor black-and-white images with newsreels.
