Annotated Bibliography Example on Different Aspects of Cinema

The article explores different aspects of cinema and gives an analysis of cinema from a silent one to talkies and further explains the different directors whose influence are felt through image and those whose weight is captured in reality. The different cinema in the article reflects the 1920s to 1940s trends, and asserts that all the technical needs for the art of cinema were already available in 1930s even though the statement is not well elaborated. It focuses on the end of the silent film which marks a new era into the world of the film leaving behind the period in which a film only relied on the image instead of reality. The significance of the image meant that there was a need to concentrate on the sound. The authors give an elegant look at the broad focus and shots in depth, they are arguing that deep concentration converts the screen into a "dramatic checkerboard," utilizes a unity of image in space and time and allows the spectator to be more actively engaged with the film. It is apparent that the author makes the movie interesting for the audience. The film relates to the reality encountered by people thereby affecting the norms of the society. The article is essential in understanding the evolution of film and the reason behind what makes films say things the way they do. Studying film cannot be complete without realizing the background and the effect it has on the spectators or the audiences. It is, therefore, a crucial source of film information that when used alongside other reliable sources, can help to engage in film actively and make a reader think more analytically about any film. The article is about film criticism by film theorists who are likely to give a more critical and analytical view about the film thus making it a reliable source.

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Bordwell, D. and Thompson, K., 1985. Fundamental aesthetics of sound in the cinema. Film sound: Theory and practice, pp.181-199.

Bordwell and Thompson explain some of the significant models that can be used to analyse sound stylistics while further giving a more in-depth analysis of the techniques and practices of sound filmmaking. The sound was not considered as an essential part of a film especially during the period of silence film when an image was regarded as primary. Analysing films using sound is what the article stresses. The authors take into account different essays written by professional film theorists in previous years that provide a wealth of experience as far as film sound is concerned. The authors describe all the methodologies involved encompassing sound in filmmaking; the processes that film recording takes from original records to final theatre playback are well explained in the essays which also demonstrate the role sound plays in the filmmaking industry. Bordwell and Thompson discuss an exciting area of filmmaking that any researcher in the field may be interested in, enhancing their understanding of not only the history of the use of sound but also making critical choices on how the use of sound can be improved in future. The article is a reliable peer-reviewed source that includes essays from scholars in the film industry. The pieces written by the film historians contain some of the rich histories of film industry particularly the emergence of inclusion of sound in the films. The basic aesthetics of sound in a cinema are well analysed and are supported by theories. The source is related to several other sources that are going to be used in the study of filmmaking. It is, therefore, a critical source that is intended to complete an investigation.

Sean Fuller & Catherine Driscoll., (2015). HBO's Girls: gender, generation, and quality television. Continuum, 29(2), pp.253-262.

The HBO series Girls is believed to be interesting because of the role it took in enhancing the independence of young women, but some people think that it has portrayed the negative aspect of what young girls can do with their freedom. Fuller and Driscoll attempt to analyse the various characters in the film with the intention of overcoming emanating uncertainties. The film portrays how feminism contributes to independence of girls and achieve their goals without assistance from the male thereby believing in intrinsic motivation. The authors feel that the sentiments surrounding the series are as a result of the vague post feminism concept in which the series was integrated. The authors say that it is essential to acknowledge a popular feminism history which they believe should always remain relevant in all aspects arguing that the series is a result of booth products and subjects of feminism that take into account all that happen to women in a broad perspective. The article further indicates that contemporary society does not still make a woman comfortable to tell artful stories making it hard to tell gendered stories. The authors argue that the changing social situation does not seem to favor women hence the reason for the outcry regarding the series. It is apparent that the ever-changing times and social conditions are never taken into account because the society does not seem to acknowledge the changes. The manner in which women are presented in the film and media still raises eyebrows with some thinking that it is more than what feminism stands for in society. This is a critical aspect in gender that addresses social controversies experienced by the filmmakers. The society requires effective education approach and become sensitized on their rights and on how to overcome discrimination. Women in the film industry are still vulnerable. The source is a reliable source which is written by individual professionals in the field of Gender and Cultural Studies with vast experience in the area.

Gillespie, M.B., 2016. We Insist on the Idea of Black Film. In: Film Blackness: American Cinema and the Idea of Black Film. Duke University Press.

Gillespie looks at the idea of racial representation in the film by incorporating the concept of black studies making the text look like a theoretical manifesto. He touches on film materiality which is a critical aspect of a film and explains it with a solid knowledge of filmmaking. Gillespie also touches on film stock and processes while analysing circulation reports of films to explain to the viewer the aspect of blackness in the film. Gillespie does not seem to support the generalization of the black experience in the film instead; he concerns himself with black significance and suggests an independent black cinema. Even though his choices for a black film is personal, they appear arbitrary, but his independent idea in the post Do the Right Thing era is welcome. He asserts that film is a mass medium and an art form which is accurate because of the role of film in social and economic issues, as well as the exchanges it triggers considering the wealth of experience general media study, has put into a film. Gillespie is more interested in the black cultural production that emanates from the black intellectual matrix. However, this may not be possible because in most cases, films are cosmopolitan art forms and the filmmakers are usually trained in places far from their cultural roots, meaning that the black culture may not have a massive effect as perceived by Gillespie.

This text is quite interesting especially the ability to bring an aspect of culture in filmmaking. The film content should at least include specific themes that the spectators are familiar with for ease of understanding. Just like the other sources, this is a significant source that may interest researchers in the field of filmmaking. It is a source that is authored by an experienced professional in the film industry. It is a reliable source that can be used in conducting studies in the film industry.

Hook, B., 2014. Is Paris Burning? In: Black looks: Race and representation (2 ed). New York, NY: Routledge.

Hooks explores the controversy of dressing in drag and explains the stigmatism of cross-dressing asserting that those who cross-dress are regarded as individuals who break gender norm. The author touches on the way the society stereotypes black men when they cross-dress. She posits that the way a white man is treated is different from that of black men explaining that black men are taken seriously when they cross-dress because they are seen as rapists. Hooks takes the discussion further by using the film "Paris is Burning" in which she narrates how wealthy people are treated fairly especially the locals compared to foreigners who are despised because of their financial status. Despite the film touching on the struggles of black men, it does it in a way that glamorizes the white ruling class which is fantasized by the people of colour. Hooks says that the film glorifies the lives of whites at the expense of black gay men who are depicted as desperate for being like whites because the only norms are heterosexual and straight. Attending queer events such as drag is seen to be the only way the black men can come out of the discrimination because they are used as the main drag participants which are a form of intersectional oppression.

This article can be used in the film studies by considering Hooks' critics into account. Her critiques are of great help because the film should not contribute to discrimination of individuals as it is in the "Is Paris Burning" film. The film should promote cohesiveness and teach good morals instead of fuelling negative behaviours in society. The author informs the readers that film can do better than discriminating against anyone. The article can play a significant role in film studies and help in researching the industry as it is a reliable article that touches on the in-depth analysis of a film.

Orpen, V., 2003. Film editing: The art of the expressive (Vol. 16). Wallflower Press.

Orpen provides some of the basics of craft editing in the non-silent film and regards editing as an expressive strategy asserting that it should be approached as another aspect of a film. She says that editing should not focus only on both the soundtrack and silent cinema for it to make meaning. Orpen is of the opinion that editing plays a significant role in the design of a film, in a nutshell, Orpen tends to focus on motion picture editing which is an essential part of a film because it covers several scenes of a film. The author focuses on the motivation behind editing and how it plays a critical role in the personal cinematic expression instead of regarding it as a strict system. Orpen supports her views with those of cinematic philosophers such as David Bordwell who help in providing practical knowledge in the subject. Interestingly, she does not allow the opinions of others to interfere with her perspective.

The manner in which film editing is introduced is enough to encourage people to study film editing. It touches on one of the fascinating areas of a film and explains it in a clear language which anyone can understand. She gives editing a precise meaning and a perspective that makes it an exciting subject to study. Orpen further explains the way editing can help in expressing the emotional life of characters and how the director's vision can be achieved through editing. It is apparent that this source is essential in defining the crucial area of the film industry which is the subject discussed in the other related articles. The article is, therefore, an essential source for anyone interested in studying film because it provides some necessary insights that are crucial in the industry. The author draws from different professionals in the film industry which makes it a reliable source because of the rich background of professionalism.