Film studies in the context of "Television studies"

Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate. Although some branches of film theory are derived from linguistics and literary theory, it also originated and overlaps with the philosophy of film.

Film criticism is the analysis and evaluation of films and the film medium. In general, film criticism can be divided into two categories: Academic criticism by film scholars, who study the composition of film theory and publish their findings and essays in books and journals, and general journalistic criticism that appears regularly in press newspapers, magazines and other popular mass-media outlets. Academic film criticism rarely takes the form of a review; instead it is more likely to analyse the film and its place in the history of its genre, the industry and film history as a whole.

Film criticism is also labeled as a type of writing that perceives films as possible achievements and wishes to convey their differences, as well as the films being made in a level of quality that is satisfactory or unsatisfactory. Film criticism is also associated with the journalistic type of criticism, which is grounded in the media's effects being developed, and journalistic criticism resides in standard structures such as newspapers. Journal articles pertaining to films served as representatives for the film critics who desired to increase the amount of communication about movies to a high degree that ascended above content that was normally featured in popular publications. The critics who work in the media are normally commissionaires who affect culture, since the judgments and choices of critics have the effect of influencing what audience members perceive about objects that are supplied to them, and critics are also able to influence how the audience members choose to think about objects that are supplied to them.

The philosophy of film is a branch of aesthetics within the discipline of philosophy that seeks to understand the most basic questions about film. Philosophy of film has significant overlap with film theory, a branch of film studies.

The AFI Life Achievement Award was established by the board of directors of the American Film Institute (AFI) on February 26, 1973, to honor a single individual for their lifetime contribution to enriching American culture through motion pictures and television. The recipient is selected and honored at an annual ceremony, with the award presented by a master of ceremonies and, recently, the prior year's recipient.

The AFI's trustees initially specified that "The recipient must be one who fundamentally advanced the art of film and whose achievements had been acknowledged by film scholars, critics, their individual peers and the general public". The trustees also specified "That the work of the recipient must have withstood the test of time".

In film and television, drama is a category or genre of narrative fiction (or semi-fiction) intended to be more serious than humorous in tone. The drama of this kind is usually qualified with additional terms that specify its particular super-genre, macro-genre, or micro-genre, such as soap opera, police crime drama, political drama, legal drama, historical drama, domestic drama, teen drama, and comedy drama (dramedy). These terms tend to indicate a particular setting or subject matter, or they combine a drama's otherwise serious tone with elements that encourage a broader range of moods. To these ends, a primary element in a drama is the occurrence of conflict—emotional, social, or otherwise—and its resolution in the course of the storyline.

All forms of cinema or television that involve fictional stories are forms of drama in the broader sense if their storytelling is achieved by means of actors who represent (mimesis) characters. In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs. In the modern era, before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy. It is this narrower sense that the film and television industries, along with film studies, adopted. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.

The Matrixial Gaze is a 1995 book by artist, psychoanalyst, clinical psychologist, writer and painter Bracha L. Ettinger. It is a work of feminist film theory that examines the gaze as described by Jacques Lacan, criticises it, and offers an original theory concerning feminine and female gaze. Beginning in 1985, Ettinger's artistic practice and her theoretical invention of a matrixial space (matricial space) articulated around her proposal of a feminine-maternal sphere of encounter that begins in the most archaic (pre-maternal-prenatal) humanised encounter-event, led her to publish a long series of academic articles starting 1992, articulating and developing for some decades what she has called the matrixial (matricial, matrixiel) theory of trans-subjectivity. The matrixial (matricial, matriciel, matrixiel) theory formulates Aesthetics and artistic creativity in terms of withnessing, compassion, wondering and 'fascinance', as well as Ethics of witnessing, responsibility, respect, compassion and care, and the passage from co-response-ability to responsibility and from com-passion to compassion. Bracha L. Ettinger invented a field of concepts that have influenced debates in contemporary art, psychoanalysis, women's studies, film studies, feminism, gender studies and cultural studies.

An art film, arthouse film, or specialty film is an independent film aimed at a niche market rather than a mass market audience. It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", "made primarily for aesthetic reasons rather than commercial profit", and containing "unconventional or highly symbolic content".

Film critics and film studies scholars typically define an art film as possessing "formal qualities that mark them as different from mainstream Hollywood films". These qualities can include (among other elements) a sense of social realism; an emphasis on the authorial expressiveness of the director; and a focus on the thoughts, dreams, or motivations of characters, as opposed to the unfolding of a clear, goal-driven story. Film scholars David Bordwell and Barry Keith Grant describe art cinema as "a film genre, with its own distinct conventions".

Laura Mulvey (born 15 August 1941) is a British feminist film theorist and filmmaker. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She previously taught at Bulmershe College, the London College of Printing, the University of East Anglia, and the British Film Institute.

During the 2008–09 academic year, Mulvey was the Mary Cornille Distinguished Visiting Professor in the Humanities at Wellesley College. Mulvey has been awarded three honorary degrees: in 2006 a Doctor of Letters from the University of East Anglia; in 2009 a Doctor of Law from Concordia University; and in 2012 a Bloomsday Doctor of Literature from University College Dublin.