Baudry’s Ideological Effects of the Cinematic Apparatus apparatus itself functions as a gateway of sorts that allows for ideological effect to. Jean-Louis Baudry, ‘Ideological Effects of the Basic Cinematographic. Apparatus’, Film Quarterly, 28 (Winter –75), (reprinted in Movies. & Methods. Apparatus theory, derived in part from Marxist film theory, semiotics, and psychoanalysis, was a This effect is ideological because it is a reproduced reality and the cinematic experience affects the viewer on a deep level. This theory is In Baudry’s theory of the apparatus he likens the movie-goer to someone in a dream.
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The film goes through transformations, from decoupage, the shot breakdown before shooting, to montage. That is, the decoupage, which operates as language, is transformed but not translated or transcripted, because that is not possible through the apparatus of the camera into image, or exposed film, which is then transformed again, through the apparatuses that make editing possible, into a finished product.
Another operation effected through instruments takes place when the finished product of the film, which is a commodity that possesses exchange value, is transformed through the apparatuses of the projector and the screen to become the filmic event which can then be consumed, which is a product with use value.
The fact that jdeological transformation, and the instruments that enact it, is concealed from the viewer, is inherently ideological.
HOW do filmic instruments produce specific ideological effects, and are these effects themselves determined by the dominant ideology? The center of this space corresponds with the eye, which corresponds with the subject.
However, projection works by effacing these differences. The eye is given a false sense of complete freedom of movement. Continuity is bsudry attribute of the subject.
Apparatus theory – Wikipedia
The ideological operations at stake here: The mirror stage is also where the subject ideologidal alienated from itself, and thus is introduced into the Imaginary order.
Baudry explains how the spectator identifies with the film at two levels: Disturbing elements distance the spectator from the film, allowing her to apprehend its ideological processes? The entire function of the filmic apparatus is to make us forget the filmic apparatus—we are only made aware of the apparatus when it breaks.
Some of the same problems as many theories of film and culture of the postwar era including Adorno and Horkeimer and many of the psychoanalytic theories of the 70s that were concerned with the way that cinematic isntitutions influence spectators to seek out viewing pleasures in ways that reflect dominant ideologynamely in that it poses a one-way relationship between the viewer and the filmic text. Is the experience of watching a film in your living room while making fun of it with your friends, or watching it on your iPhone on the bus, conducive to the same ideological operations?
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Baudry, Jean Louis Ideological Effects of the Basic Cinematographic Apparatus
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