1. Jean Mitry: Aesthetic and Psychology of Cinema
1. Film structures: essential core of traits that define all film experience.
2. Film forms: stylistic choices that determine different psychological variations of the basic film experience.
3. The expressive and symbolic capacities of film.
4. The elaboration of a set of critical standards.
5. Film theory in relation to aesthetic theory.

2. Jean Mitry: Film Structures
I. Preliminaries
1. Cinema before the arts
2. Cinema and creation
3. Cinema and language
4. Word and image
II. The filmic image
5. The image itself
6. Structures of the image
--Shots and angles
--The frame and its
determinations
--Participation and
identification
7. Aesthetic of the image
III. Rhythm and montage
8. The beginnings of montage
9. Rhythm in music and rhythm in prosody
10. Cinematographic rhythm

3. Jean Mitry: Film Forms IV. Rhythm and mobile framings
11. Mobile camera [caméra libre]
and depth of field
--The principle of "non-
montage" and the global real
--The mobile camera
--Psychology of tracking shot
--Depth of field
--Cinemascope and Polyvision
--Fascination and distanciation
--The subjective camera
--The semi-subjective image
--Oblique images
12. Word and Sound
V. Time, space, and the perceived real
13. Consciousness of the real
VI. Dramatic time and space
14. Search for a dramaturgy
15. Foundations and form

4. Jean Mitry: film structures
The “phi phenomenon”: perception and cognition of motion.
persistence of vision
phi phenomenon
Double nature of the photographic image
indexical
analogical
Double nature of frame: both closed and open
The montage effect

5. Jean Mitry: film structures
The “phi phenomenon”: perception and cognition of motion.
persistence of vision
phi phenomenon

6. Jean Mitry: film structures
Double nature of the photographic image
Realism vs. formalism. Does film present a perceptual and psychological doubling of the world or a formal, aesthetic rendering of the world?
"The basic nature of the image is to be an image of something." The image is indexical and analogical.
indexical in that it points to the prior existence of the represented thing or event;
analogical in its recording process, which molds itself spatially on represented thing or event. Resemblance by spatial doubling.
The image as “psychological” sign: “a representation incorporating a body of stimuli perceived in a similar way to the perception of the thing itself….”

7. Jean Mitry: film structures
The image as analogon: the film image is a directed reality: “. . . the image, though analogous with what it reveals, always adds something to what is revealed.”
The duality or conflict of existence and essence, between the represented object (immediate image) and its representation (imposition of form through framing or aesthetic choice).
The image is “transcendent” but only in the sense that it presents a more intensely perceived and signified reality.

8. Jean Mitry: film structures
Double nature of the frame
Frame as enclosed self-sufficient space, or frame as partial fragment of essentially open and endless reality?
The frame presents "the fundamental condition of film form." It borders and constitutes an aesthetic world, dividing film from "reality."
The duality or dialectic between frame and image: the structure of film necessarily involves and presupposes two levels of composition:
dramatic composition (or "represented reality") organized in space (and also, of course, in time) and
aesthetic or plastic compositions, which organizes this space within the limits of the frame, regardless of the field of vision.”
Alternatively, it enables a temporal perception--the sense of frames succeeding one another in time, of an unfolding, open-ended aesthetic world.

9. Jean Mitry: film structures
The montage-effect.
The symbolic meaning that a shot acquires in context, in a specific set of associations.
"A new power arises when we bring together two or more shots--they acquire a value which they would not have except in this association. Through montage the shot functions in the sequence as words function in the sentence--where the subject and verb and adjective find full meaning only in their interrelationships."

10. Jean Mitry: film structures

11. Jean Mitry: film structures

12. Jean Mitry: film structures
Mitry contra Bazin: montage is not simply an effect of editing.
montage within the shot: deep focus
montage through movement within the frame
montage through camera movement

13. Jean Mitry: subjective images
the purely mental image
semi-subjective or associated image
truly subjective or analytical image
the "imaginary" or fantasy sequence
image of memory (flashbacks)

14. Mitry’s theory of signification
Transcendent or analogical sense (perception)
the immediate image
the “transcendent” image
Aesthetic or “transpositional” sense (signification)
Framing
Dialectic between frame and movement
Signification or symbolic sense (symbolization)
“Image-making data” (compositional forms) transform represented reality as “image-data”
Representational form gives the represented object its particularity; in this way the signifier can point to a signified or symbolic meaning.