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Cinematic Elements of Fictional Movies, Essay Example

Pages: 5

Words: 1433

Essay

Introduction

Conveying philosophical ideas is a primary objective of artistic works. Prominent sociologists and philosophers present their intellectual and professional abilities in depicting a community issue (Constable 281). Cinematic elements of fictional movies also play a critical role in offering a similar message. Conventionally, fictional movies contain scenes and settings away from the reality of issues to present an imminent problem. Some films encourage the audience to adopt applicable practices and traits based on the outcomes of proposed solutions (De Roo 62). Fundamentally, this essay determines how fictional films depict philosophical ideas using cinematic elements. Movies with abstract problems developed using hypothetical but practical scenarios ensure integration of philosophical concepts of dealing with the challenges. Most importantly, cinematic elements are instrumental components of fictional movies as they allow producers attain relevance and consistency in the content used for conveying philosophical ideas.

Best Argument for a Position I disagree with

It is essential to describe the opposing view for a comprehensive and objective analysis. The opposing argument claims that the essence of cinematic elements in fictional movies is to present well-thought experiments. This is evidenced in films that relate an abstract problem with realities encountered by humans. Films developed using a fictional structure are used as speculative means of depicting the relationship between a virtual challenge and individuals (Constable 282). An illustration includes modern films that use technology to capture an abstract future in which communities will prevail against biases and discrimination. This will be attained by tactical integration of human body applications and information management systems for improved or desirable outcomes. In this case, the opposing argument depicts the significance of fictional films in relating abstract problems with human experiences using speculative and intriguing tactics.

The opposing position also claims that the significance of fictional films is to inform and condition content to align with the interests of key stakeholders. It highlights the influence of movies on the political, social, and economic aspects of individuals. For example, fictional films can be developed to inform the dangers of synthetic biology on the future existence of humans (Constable 281). The audience acquires critical information concerning emerging technology trends, including Big Data, Data Analytics, Artificial Intelligence (A.I.), Blockchain, and synthetic biology (De Roo 63). Additionally, the cinematic elements of fictional movies are conditioned to meet the interests of key stakeholders. In this case, themes discouraging the adoption of modern innovation due to health risks on humans can be tailored to depict outcomes after the occurrence. Informing and conditioning are imminent in fictional movies as portrayed in content and storyline and achieve philosophical ideas to some extent.

Criticism of Opposing View

From a critical perspective, it is wise to dismiss the opposing view on diverse dimensions entailing cinematic elements in fictional films. For example, this approach claims that fictional films use cinematic elements to entertain the audience speculatively. Most features are integrated using computer software programs (Constable 284). In essence, the resources utilized are expensive and cost producers a lot of financial resources. The cost of producing a fictional film is high, and companies with reputable equipment and facilities attain the quality presented. Subsequently, this argument is irrelevant since directors and producers aim to positively and long-term among the audience (Constable 283). The resources used in developing a film are intended to effect community change or educate public members on the imminence of abstract problems.

The opposing view also claims that fictional films present content in “a read between the lines” framework. In other terms, the movies are intended to elicit or contribute to a public debate concerning an issue. For example, the development of synthetic biology technology contributes to the general ethical discussion concerning the limits of technology application on humans. Religious institutions present a strong view against the practice as it contravenes strong spiritual beliefs among followers (De Roo 67). Elders in conservative communities also objective aspects to synthetic biology as it contradicts cultural values and principles. In this perspective, the underlying themes and issues communicated to an audience are vital in protecting the social importance of people. Therefore, it is inaccurate for the opposing view to claim that fictional films adopt cinematic elements to offer speculative and entertaining content. The magnitude of these elements is measured against relevance and consistent common with different aspects of life among the audience.

Moreover, criticism against the opposing view is based on the informed or conditioned approach used to strategize fictional films. The narrative and content used to portray scenes in the movies are developed by individuals with particular interests. For example, authoritarian governments can use cinematic elements to build a fictional narrative against the opposing view (Constable 286). Public members receive pre-meditated information to portray a negative image of stakeholders. The opposite view categorizes the conditioning element as vital for valuing the resources utilized to produce a film. This is unfortunate as few individuals develop content that fulfills their interests. The audience is essential in developing fictional films that depict relationships with reality through human experiences. Most crucially, financing movies with fiction also requires compliance with clients’ ethical and moral values away from the interests of a few individuals.

Personal Position on the Issue

From a personal position, cinematic elements are essential aspects of fictional movies. Films that entertain specific audiences use components that relate to the audience. For example, the enhanced communication between individuals using digital applications uses elements common in social media platforms. In this case, it is important to deduce the significance of cinematic attributes in fictional films. Directors developing the movie use the items to predict the future of communication practices (Constable 286). The use of text, graphics, and videos could be replaced by advanced applications and devices that impact particular human aspects. The significance of cinematic elements is to prepare the audience for outcomes emanating from technology development. This is an essential approach to implementing philosophical ideas that allow humans to gauge their behavior and ethical values later in life. Most importantly, cinematic elements help create the platform for communicating hypothetical situations using fictional films.

The concept of fictional movies is essential in educating and informing the audience on commendable practices. Acquiring specific traits upon a comprehensive analysis of future outcomes is vital in preparing and avoiding any related challenges. Fictional films offer a suitable framework for producers to consider the community-wide implications among the audience. For example, fictional films that promote synthetic biology technology for developing human-like creatures might experience negative criticism from religious and cultural institutions (De Roo 65). As a result, the involved film professionals should consider involving other stakeholders to achieve positive ethical impacts among the audience. The contribution of identified professionals will be significant in ensuring content and stylistic components advance morals for community growth. Fictional movies will attain relevance and consistency in reflecting community values using cinematic elements in this context.

Furthermore, cinematic elements allow fictional films to implement philosophical ideas in distinctive ways. The components enable the movies to predict imminent outcomes of adopting specific human life aspects. For instance, healthcare technology involving synthetic biology can be helpful to predict medical complications to exposed persons. The inter-professional engagement between healthcare experts and technology professionals might fail to represent more comprehensive values of communities (Constable 287). As a result, including other stakeholders will be critical in transforming the behavior and values of individuals for improved interaction in the future. From a personal angle, fictional movies should ensure practical and relevant integration of cinematic elements in fictional films to communicate helpful philosophical ideas to the audience (Constable 288). This will be important in ensuring individuals conduct themselves with caution or information for avoiding adverse outcomes. Most importantly, the philosophical arguments should be presented by individuals with sociological or anthropological knowledge concerning human life’s aspects.

Wrap-Up

In conclusion, cinematic elements of fictional movies are integrated to communicate philosophical ideas. The audience watching the film obtain necessary knowledge concerning future outcomes of present decisions and development. Technology offers a valuable framework for producing fictional films as it advances information on future results of modern innovations. The opposing view claims that the cinematic elements are incorporated exclusively in fictional cinema for entertainment and speculation purposes. When critically perceived, the resources utilized to produce the film are intended to have long-term transformation outcomes for adopting specific theories in human practices. Most importantly, cinematic elements should ensure extensive stakeholder involvement to avoid abstract problems that are irrelevant, inconsistent, and developed to suit individual interests.

Works Cited

Constable, Catherine. “Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina.” Film-Philosophy vol. 22, no. 2, 2018, pp. 281-301. ISSN: 1466-4615

De Roo, Ludo. “Elemental imagination and film experience: Climate change and the cinematic ethics of immersive filmworlds.” Projections vol. 13, no .2, 2019, pp.58-79. https://doi.org/10.3167/proj.2019.130204

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