<str<strong>on</strong>g>Proceedings</str<strong>on</strong>g> <str<strong>on</strong>g>of</str<strong>on</strong>g> <str<strong>on</strong>g>Nati<strong>on</strong>al</str<strong>on</strong>g> <str<strong>on</strong>g>Seminar</str<strong>on</strong>g> <strong>on</strong> <strong>Postmodern</strong> Literary Theory and Literature , Jan. 27-28, 2012, Nanded Webliography: Lotusread.com BHORE ASHWINI R. Nagari, Road ‘Usha’,13,Ayodhya Taroda(kh),Malega<strong>on</strong> Nanded. Mob:9423137302. 532 PLTL-2012: ISBN 978-81-920120-0-1
<str<strong>on</strong>g>Proceedings</str<strong>on</strong>g> <str<strong>on</strong>g>of</str<strong>on</strong>g> <str<strong>on</strong>g>Nati<strong>on</strong>al</str<strong>on</strong>g> <str<strong>on</strong>g>Seminar</str<strong>on</strong>g> <strong>on</strong> <strong>Postmodern</strong> Literary Theory and Literature , Jan. 27-28, 2012, Nanded Film Theory Film theory is an academic discipline that aims to explore the essence <str<strong>on</strong>g>of</str<strong>on</strong>g> the Cinema and provides c<strong>on</strong>ceptual frame works for understanding film’s relati<strong>on</strong>ship to reality, the other Arts, individual viewers, and society at large. Film theory is not to be c<strong>on</strong>fused with general film criticism, though there can be some crossover between the two disciplines. French Philosopher Henri Bergs<strong>on</strong>’s “Matter and Memory” (1896) has been cited as anticipating the developments <str<strong>on</strong>g>of</str<strong>on</strong>g> film theory during the birth <str<strong>on</strong>g>of</str<strong>on</strong>g> cinema. Bergs<strong>on</strong> coined the terms “The Movement Image” and “The Time Image”. Early film theory arose in the silent era and was mostly c<strong>on</strong>cerned with defining the crucial elements <str<strong>on</strong>g>of</str<strong>on</strong>g> the medium. This work is largely evolves from the works <str<strong>on</strong>g>of</str<strong>on</strong>g> directors, like Germaine Dulac, Louis Delluc, Jean Epstein, Sergei Eisenstein, Lev kweshov, and Dziga Vertoy and film theorists like Rudolf Arnmeim, Bela Balazs and Siegfried Kracher. These individuals emphasized how film differed from reality and how it might be c<strong>on</strong>sidered a valid art form. French film critic Andre Bazin Says.: “Film’s essence lay in its ability , to mechanically reproduce reality; not in its difference from reality.” In 1960 and 1907s, film theory took up residence in academic importing c<strong>on</strong>cepts from established disciplines like Psychoanalysis, gender studies, anthropology, literary theory semiotics and linguistics. The late 1980s, or early 1990s, did film theory achieve much prominence in American universities by displacing the prevailing humanistic, auteur theory that had dominated cinema studies and which had been focused <strong>on</strong> the practical elements <str<strong>on</strong>g>of</str<strong>on</strong>g> film writing, producti<strong>on</strong>, editing and criticism. American scholar David Bordwell has spoken against many prominent developments film theory since the 1970s, i.e. he uses the humorously derogatory term “SLAB Theory” to refer to film studies based <strong>on</strong> the ideas <str<strong>on</strong>g>of</str<strong>on</strong>g> Saussure, Lacan, Althusser, Barthes. Bordwell Promotes what he describers as “Ne<str<strong>on</strong>g>of</str<strong>on</strong>g>ormalism”. During 1990s, the digital revoluti<strong>on</strong> in image technologies had an impact <strong>on</strong> film theory in various ways. Film ability to capture an “indexicl” image <str<strong>on</strong>g>of</str<strong>on</strong>g> a moment in time by theorists like Mary Ann Doane, Philip Rosen, and Laura Mulvey who was informed by Psychoanalysis. A psychoanalytical perspective, Lacanian “ The Real”, Slavoj Zizek “The gaze”, extensively used in c<strong>on</strong>temporary film analysis. 533 PLTL-2012: ISBN 978-81-920120-0-1
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