Kes A Movie Analysis

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Other, grade: keine, University of Rostock, course: Kulturwissenschaft: Representation of class in British Films since the 1930s, 5 entries in the bibliography, language: English, abstract: In this paper I take a closer look at the movie Kes produced by Ken Loach. The movie is based on the book A Kestrel for a Knave which was written by Barry Hines. It is a pretty interesting story and by watching the movie the viewer automatically compares his own life and school experiences with Billys experiences. In the first part of this work I give a short introduction about the background and the situation in which the movie takes place. In the second part I take a closer look at Billys daily life, his future options and his relationship to his brother. [...]

Bachelor Thesis from the year 2006 in the subject Film Science, grade: 1, language: English, abstract: This case study investigates the average shot length and scale by using a comparative statistical film style analysis of contemporary American movies within the drama genre. This research was conducted in a systematic fashion; utilising appropriate tools and documenting each of the key stages. To ensure a high degree of validity the research investigates four successful box office movies of two award winning editors which were selected. The report is divided into ten sections. These are Introduction, Definitions of Key Terms, Scope and Limitations, Background Information, Literature Review, Research Plan and Analysis of Methodologies, Research Implementation, Presentation and Analysis of the Data, Comment and Critique of the Findings and finally the Summary and Conclusion. The scope of the work is limited to an examination of the descriptive statistics such as average shot length and categorisation of the shot scales. Correlations of the movie content were not considered. The research concludes with demonstrated support for the hypothesis that the use of digital nonlinear editing systems has had a significant impact on the shot length and framing in contemporary American drama feature films over the past fifteen years. Evidence is derived from primary, secondary and tertiary data including interviews with industry professionals.

With a common focus on the decisions made by film-makers, this book explores different aspects of the relationshp between textual detail and broader conceptual frameworks. All the essays centre on methods of close analysis and ground their discussion in the detail of individual films.

This survey covers techniques and approaches that promise to directly enable opinion-oriented information-seeking systems.

"This essential book covers all the key areas for students studying film studies and builds confidence through a careful, step-by-step approach. In the first part of the book, a basic understanding of the grounding of film analysis in the various elements of film construction - mise en scène, cinematography, editing, sound and performance - is established, developing the knowledge students have of movies whilst challenging them in new films and ideas. Key theoretical approaches around narrative, genre, representation, spectatorship and authorship are introduced in part two, before we consider specific national cinemas from around the world in parts three and four. In part five, the book assesses a range of slightly different film experiences, looking at silent cinema, experimental films and documentaries; before, finally, part six shifts to evaluating creative approaches to students' own filmmaking. Specifically designed to be user friendly, the book has an easy-to-follow design, includes more than sixty colour images and is packed with features such as: case studies on a range of films and filmmakers; activities on films like All About My Mother, Pride, Vertigo and We Need to Talk About Kevin; key terms; suggestions for further reading and website resources. Matched to the current exam specification, A Level Film Studies: The Essential Introduction covers everything students need to study as part of the course and is supported by a companion website at www.alevelfilmstudies.co.uk offering further advice and activities"--

The four-volume set LNAI 6881-LNAI 6884 constitutes the refereed proceedings of the 15th International Conference on Knowledge-Based Intelligent Information and Engineering Systems, KES 2011, held in Kaiserslautern, Germany, in September 2011. Part 1: The total of 244 high-quality papers presented were carefully reviewed and selected from numerous submissions. The 61 papers of Part 1 are organized in topical sections on artificial neural networks, connectionists systems and evolutionary computation, machine learning and classical AI, agent, multi-agentsystems, knowledge based and expert systems, intelligent vision, image processing and signal processing, knowledge management, ontologies, and data mining.

Film and Television Analysis is especially designed to introduce undergraduate students to the most important qualitative methodologies used to study film and television. The methodologies covered include: ideological analysis auteur theory genre theory semiotics and structuralism psychoanalysis and apparatus theory feminism postmodernism cultural studies (including reception and audience studies) contemporary approaches to race, nation, gender, and sexuality. With each chapter focusing on a distinct methodology, students are introduced to the historical developments of each approach, along with its vocabulary, significant scholars, key concepts and case studies. Other features include: Over 120 color images throughout Questions for discussion at the end of each chapter Suggestions for further reading A glossary of key terms. Written in a reader-friendly manner Film and Television Analysis is a vital textbook for students encountering these concepts for the first time.

Film: The Key Concepts presents a coherent, clear and exciting overview of film theory for beginning readers. The book takes the reader through the often conflicting analyses that make up film theory, illustrating arguments with examples from mainstream and independent films. Concise and comprehensive, the book guides the reader through realism, formalism, structuralism, semiotics, Marxism, psychoanalysis, feminism, cognitivism, post-colonialism, postmodernism, gender and queer film theory, stardom and film audience research. The book as a whole provides a complete overview of the evolution of film theory. Throughout, the analysis is illustrated with lively boxed studies of key mainstream and independent films. Bulleted chapter summaries, questions and guides to further reading are also provided.

This book constitutes the refereed proceedings of the 6th KES International Conference on Agent and Multi-Agent Systems, KES-AMSTA 2012, held in Dubrovnik, Croatia, in June 2012. The conference attracted a substantial number of researchers and practitioners from all over the world who submitted their papers for ten main tracks covering the methodology and applications of agent and multi-agent systems, one workshop (TRUMAS 2012) and five special sessions on specific topics within the field. The 66 revised papers presented were carefully reviewed and selected for inclusion in the book. The papers are organized in topical sections on virtual organizations, knowledge and learning agents, intelligent workflow, cloud computing and intelligent systems, self-organization, ICT-based alternative and augmentative communication, multi-agent systems, mental and holonic models, assessment methodologies in multi-agent and other paradigms, business processing agents, Trumas 2012 (first international workshop), conversational agents and agent teams, digital economy, and multi-agent systems in distributed environments.

Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. "Film and Philosophy" brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental and 'post-continental' philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists.The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to a reappraisal of film. The book will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by film philosophy." Film and Philosophy" includes essays on: Hugo Munsterberg, Vilem Flusser, Siegfried Kracauer, Theodor Adorno, Antonin Artaud, Henri Bergson, Maurice Merleau-Ponty, Emmanuel Levinas, Andre Bazin, Roland Barthes, Serge Daney, Jean-Luc Godard, Stanley Cavell, Jean-Luc Nancy, Jacques Derrida, Gilles Deleuze, Sarah Kofman, Paul Virilio, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson, Felix Guattari, Raymond Bellour, Christian Metz, Julia Kristeva, Laura Mulvey, Homi Bhabha, Slavoj Zizek, Stephen Heath, Alain Badiou, Jacques Ranciere, Leo Bersani, Giorgio Agamben, and Michel Chion.

Provides a lively account of Brahms's career as a freelance composer & musician & a vivid portrait of the German middle-class audience for whom he wrote. Provides a detailed catalog of his music, with analyses of playable examples.

Combining the creative perspectives of filmmakers with more analytic academic methods, this study invites film students to take an active approach in learning to understand how audiovisual language is used to create meaning in films. While the main focus is on the concept of film language, case study readings of The Warrior (2002) and Traffic (2001) place these films in their institutional contexts to demonstrate the multifaceted nature of how meaning is created. This study gives particular emphasis to understanding cinemaphotography, editing, music, and setting. Students are encouraged to reflect on their own responses and develop reading skills through a range of online classroom activities that demonstrate how audience interaction works to create meaning in film. Technical terms and techniques are explained in an extensive glossary and in special explanatory sections illustrated by a range of films.