But form can create new responses instead of harping on old ones. An artwork may lead us to override or suspend our everyday emotional responses. No one wants to meet Freddy Kruger or Hannibal Lecter in real life, but as fi lm characters they may become spellbinding. In the abstract, we might fi nd the land of Oz a child’s paradise. But because the fi lm’s developing plot leads us to sympathize with Doro-thy in her desire to go home, we feel satisfaction when she fi nally returns to Kansas
“This sounds negative, but I don’t mean it negative. I would say figure out what you hate. Actually figure out what you hate. Figure out what you in a movie theater would think ‘if I see another scene like this, I’m going to rip my hair out.’ Or if I see another character do this thing. Because I do think it gives you a kind of energy, a kind of anger, and a kind of ability to set out your own thing.”
"A film is not what it is about, it's how it is about it."
The very scale of a cinematic project allows for a sweep of vision not possible in graphic design.
Why Theory? Cultural Critique in Film and Television by Edward Tomareken - NOTES
"Since I have already pointed out, the producers and directors of movies are not theorists and may know little about it, the ideas come from the culture, the mental climate of the time"- pg 5
A way of breaking down larger concepts via Thin vs Thick: "A thin description of Spider-Man would emphasize how he swings freely from the skyscrapers of New York City, transcending the world, swooping swiftly above those below immobilized by traffic jams. A thick description would note that he is ultimately constricted by his own web, whose boundaries are set by skyscrapers" pg 6