The IMR of Film
As a part of my planning and research stage, I must understand how the codes of the horror genre operate.
The key code is the international language of film or Institutional Mode of Representation.
In film theory, the Institutional Mode of Representation is the style of films that developed during Classic Era of Hollywood Cinema, becoming the norm in 1914, and continues to this day.
The IMR is characterised by the attempt to create an entirely fictional world on screen. Various techniques (often referred to as the “language of cinema”) were developed in order to accomplish the identification required for the audience to become imaginatively involved with the film:
The key code is the international language of film or Institutional Mode of Representation.
In film theory, the Institutional Mode of Representation is the style of films that developed during Classic Era of Hollywood Cinema, becoming the norm in 1914, and continues to this day.
The IMR is characterised by the attempt to create an entirely fictional world on screen. Various techniques (often referred to as the “language of cinema”) were developed in order to accomplish the identification required for the audience to become imaginatively involved with the film:
- Films are constructed out of a sequence of shots, in which each shot presents the audience with one clear piece of information.
- A 3D space is created, using Renaissance rules of perspective as well as new cinematic techniques such as editing and lighting. To keep the illusion of spatial integrity, which was lost with the introduction of close-ups, eye-line and directional matches were introduced. The film is thus perceived as taking place in an environment around the viewer.
- Characters are psychologically singled out, through close-ups on faces and acting methods borrowed from (bourgeois) theatre. Psychological depth is prized, and the narrative is driven by character psychology. The audience is therefore invited to interpret the motivations of the characters, and thus involve itself with the film.
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