Papers by Julius Adrian Knudsen
In continuation of the neo-formalist cognitivist tradition of David Bordwell and Lennard Højbjerg... more In continuation of the neo-formalist cognitivist tradition of David Bordwell and Lennard Højbjerg and with the application of the bio-evolutionary film theory of Torben Grodal, this thesis examines the varied use of specific cinematic techniques and instruments in action movies.
Using varying examples from movies such as Requiem for a Dream (2000), The Hobbit (2012), The Matrix (1999), To Live and Die in LA (1985), Avatar (2009) and The French Connection (1971) the thesis more specifically tries to find out how the uses and functions of the
continuous style in the film as a whole and the specific style in dialogue and action scenes can affect the viewer's experience of dramatic intensity, realism, tempo, rhythm and narrative.
Finally the thesis also goes into detail examining how style can allow for perceptual and emotional immersion and how the concept of embodied style can influence the viewer's bodily reaction to a certain visual experience.
Central to the fundamental view on the film viewing experience in this thesis is the idea of the active viewer, who himself is assembling the audiovisual output and constructs its meaning based on innate abilities, prior experience and learned behaviour. It is further the opinion
of the author that the understanding of style and its functionality is deeply depending on the understanding of the application of style in layers, the dynamics of the relationship between continuity and fragmentation, as well as the idea that narrative coherence is always a result of the symbiotic relationship between style and plot.
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Papers by Julius Adrian Knudsen
Using varying examples from movies such as Requiem for a Dream (2000), The Hobbit (2012), The Matrix (1999), To Live and Die in LA (1985), Avatar (2009) and The French Connection (1971) the thesis more specifically tries to find out how the uses and functions of the
continuous style in the film as a whole and the specific style in dialogue and action scenes can affect the viewer's experience of dramatic intensity, realism, tempo, rhythm and narrative.
Finally the thesis also goes into detail examining how style can allow for perceptual and emotional immersion and how the concept of embodied style can influence the viewer's bodily reaction to a certain visual experience.
Central to the fundamental view on the film viewing experience in this thesis is the idea of the active viewer, who himself is assembling the audiovisual output and constructs its meaning based on innate abilities, prior experience and learned behaviour. It is further the opinion
of the author that the understanding of style and its functionality is deeply depending on the understanding of the application of style in layers, the dynamics of the relationship between continuity and fragmentation, as well as the idea that narrative coherence is always a result of the symbiotic relationship between style and plot.
Using varying examples from movies such as Requiem for a Dream (2000), The Hobbit (2012), The Matrix (1999), To Live and Die in LA (1985), Avatar (2009) and The French Connection (1971) the thesis more specifically tries to find out how the uses and functions of the
continuous style in the film as a whole and the specific style in dialogue and action scenes can affect the viewer's experience of dramatic intensity, realism, tempo, rhythm and narrative.
Finally the thesis also goes into detail examining how style can allow for perceptual and emotional immersion and how the concept of embodied style can influence the viewer's bodily reaction to a certain visual experience.
Central to the fundamental view on the film viewing experience in this thesis is the idea of the active viewer, who himself is assembling the audiovisual output and constructs its meaning based on innate abilities, prior experience and learned behaviour. It is further the opinion
of the author that the understanding of style and its functionality is deeply depending on the understanding of the application of style in layers, the dynamics of the relationship between continuity and fragmentation, as well as the idea that narrative coherence is always a result of the symbiotic relationship between style and plot.