Film History as Description and Explanation

If the flaw in Hopkins's argument is its impressionistic basis, she has at least has made usattend to how the film has been edited and the problem of internalizing film narrativeconventions.

There are distinct types of explanation in film history. A standard list wouldinclude:

All of them -- the earlierand more recent films -- use many individual lines and dramatize many of the pivotal scenes ofAusten's novels; it is in fact astonishing that audiences should so patiently sit through somewhatarchaic dialogues.

Aesthetic history: focusing on film art(form, style, genre)

Technological history: focusing on thematerials and machines of film

Again, assumptions exert pressure on the researcher’s framing of questionsand pursuit of information. The company historian assumes that he can trace generaltendencies of production organization, largely because film companies tend tomake films by following fairly set routines. The director-centered researcherassumes that her director’s films do have a distinct style. And both historianswould mobilize background knowledge, about how companies work and how directorsdirect, to guide their research.

Film Essays; I, Daniel Blake: ..

I have since writing that essaydone more research whose results I now include in the form of small revisions of the text, addednotes, and a select bibliography on film.

The greatest films of all time essays | BFI

The thesis of the essay is

A careful and pragmatic (looking at what's actually on screen) comparison of a three of the post-1995 film adaptations of Jane Austen's novels with the film adaptations made between 1971 and 1995 reveals the post-1995 films differ not so much in historical accuracy (the importance of apparent accuracy in "costume drama" has been appreciated since the early 1970s), but in the use the post-1995 films make of sophisticated camera and sound work, alluring well-known stars, and publicity -- they are known in the trade as "high profile" films.

The greatest films of all time essays.

These are the really measurable differences between the pre-1995 films since 1971 (the year of the first of the modern BBC films available on videocassette) and post-1995 films.

As everyone who goes to the movies or reads Austen's novels and the criticism of theseknows, within the last three years a striking number of films and staged productions of playswhose texts represent remarkably close adaptations of Jane Austen's novels have proved to besound investments for film-makers, television networks, theaters, and distribution companies, notto omit various "spin-offs" in sales and rentals of related books and VHS Cassettes, and in thewriting and publication of essays about the phenomenon.

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48, November 1997), which consists of eight essays devoted to these post-1995 movies. The strength of this collection lies in the variety of approaches taken by its writers.