With filmosophy, Daniel Frampton tries to establish a brand new way to encounter the phenomena of film experience. He claims that „borrowed“ theories like narrativity from literature don´t get close enough to, on the one hand how film connects with the individual filmgoer and on the other hand how reality is processed by the filmmakers into films.
Filmosophy offers multiple accessions to analyze the film experience. As it is labeled as a manifesto, the whole concept keeps an open form, which is in perpetual development. With this assignment I am trying to achieve three aims. Firstly I try to accept Frampton´s invitation to rethink the traditional way to think about film.
The second, less abstract, aim is to convey Frampton´s concept from feature films to spot advertisement. In this context I´m going to give a brief introduction to four specific categories Frampton established in his manifesto, namely „filmind“, „film-thinking“, „fluid images“ and „the filmgoer“. These categories will be, if needed, altered for the analysis of commercials.
In a second step I am going to apply these categories on the commercial „meinestadt.de - open city“. The third and final aim of this assignment is to evaluate the adaptability of Frampton´s manifesto for the commercial genre.
Table of Contents
1. Introduction
2. Filmosophy
2.1 Filmind & Film-thinking
2.2 Fluid Film-thinking
2.3 Filmgoer
3. Applied Filmosophy on the commercial „meinestadt.de - open city“
4. Resumé
Objectives and Topics
This paper aims to apply Daniel Frampton’s theory of "Filmosophy" to the genre of television and online commercials. It explores how the concepts of "filmind," "film-thinking," and the "filmgoer" can be adapted to analyze advertising content, using the "meinestadt.de - open city" commercial as a primary case study to evaluate the effectiveness of this theoretical framework in marketing communications.
- Theoretical foundations of Filmosophy and film-thinking
- Transformation of the viewer's role from "filmgoer" to "ad-viewer"
- Practical application of filmosophical tools to commercial aesthetics
- Analysis of transcedence and fluid images in spot advertising
Excerpt from the Book
3. Applied Filmosophy on the commercial „meinestadt.de - open city“
The commercial shows a daily routine in a representative melange of German cities. This story which forms the framework should be seen as a reminiscence to the narrational paradigm which makes it easier for the ad-viewer to move his thinking towards the spot.
The commercial introduces the world it claims with an interior shot of a young man´s kitchen. This frame is one of two scenes with a camera angle from inside to outside. Considering the filmind of the commercial, at this point the film thinks the angle as a starting point for the following artificial ride through the city. It´s important that the film thinks this starting point to be as profane as possible: The commercial shows us a young man in his kitchen; there´s a lot of mess on the working plate; on the table we see an improvised breakfast. The whole scenery is underlined by a close up of the young man´s toaster. The profanity of the setting must be understood as an offsetting item to the rest of the commercial: We´ll never again see details like the young man´s mess. We are now thinking from a bodied reality with all its needs and duties towards an idealized online utopia, which transcends all the possibilities and needs of everyday life.
Summary of Chapters
1. Introduction: The author outlines the purpose of applying Daniel Frampton’s filmosophy to commercials, aiming to rethink traditional media studies and evaluate the adaptability of the manifesto to the advertising genre.
2. Filmosophy: This chapter introduces key concepts like "filmind" and "film-thinking," presenting film as an active, thinking entity rather than just a narrative device.
2.1 Filmind & Film-thinking: These categories are defined as the theoretical originators of the film’s actions and the way the film conceptualizes its own world.
2.2 Fluid Film-thinking: Discusses the redesign of the film-world through innovative techniques, emphasizing its role in modern commercials to transcend products within seconds.
2.3 Filmgoer: Analyzes the shift in the viewer's role, differentiating between the active cinema spectator and the objectified ad-viewer.
3. Applied Filmosophy on the commercial „meinestadt.de - open city“: A practical analysis of the "meinestadt.de" commercial, illustrating how "fluid images" and "film-thinking" are utilized to engage the audience.
4. Resumé: Concludes that Filmosophy provides a robust, unconventional tool for analyzing commercials and potentially enhancing the creative process in advertising agencies.
Keywords
Filmosophy, Daniel Frampton, Film-thinking, Filmind, Fluid images, Spot advertisement, Commercial, Media studies, Film experience, Meinestadt.de, Ad-viewer, Advertising aesthetics, Transcedence, Narrative paradigm
Frequently Asked Questions
What is the core subject of this assignment?
The assignment explores the application of Daniel Frampton’s "Filmosophy" to spot advertisements, moving beyond traditional narrative-based analysis.
What are the primary theoretical pillars discussed?
The core concepts are the "filmind" (the theoretical source of the film), "film-thinking" (the film’s way of presenting its world), and the role of the "filmgoer."
What is the main objective of the analysis?
The goal is to determine if Frampton’s manifesto is adaptable to commercial films and how it can help us understand the connection between ads and viewers.
Which scientific method does the author employ?
The author uses a qualitative approach, applying specific filmosophical categories as tools for close-reading the sequences of a particular commercial.
What does the main body of the paper cover?
The main body defines the theoretical concepts of Filmosophy and then applies them to the "meinestadt.de - open city" commercial to examine how the film engages the viewer.
Which keywords define this work?
The work is characterized by terms such as Filmosophy, Film-thinking, Filmind, Fluid images, and Spot advertisement.
How does the author distinguish between a feature filmgoer and an ad-viewer?
The author argues that a filmgoer chooses to watch a film and is therefore active, whereas an ad-viewer is an object who is interrupted in their experience.
What role does the "meinestadt.de" commercial play in this paper?
It serves as the case study to exemplify how fluid film-thinking and transcendent imagery can effectively bridge the gap between a product and the viewer's daily life.
Why is the concept of "fluid film-thinking" relevant to commercials?
It allows creators to re-create the world within the confined 30-40 seconds of an advertisement, effectively transcending the product through aesthetic performance.
- Citar trabajo
- Christian Schliebs (Autor), 2009, Breakup Commercials, Múnich, GRIN Verlag, https://www.grin.com/document/123362
