A Quote by Allan Moyle

I never studied film theory, so I don't know the terminology. — © Allan Moyle
I never studied film theory, so I don't know the terminology.
One absolutely crucial change is that feminist film theory is today an academic subject to be studied and taught. "Visual Pleasure and Narrative Cinema" was a political intervention, primarily influenced by the Women's Liberation Movement and, in my specific case, a Women's Liberation study group, in which we read Freud and realised the usefulness of psychoanalytic theory for a feminist project.
I don't think film schools are mentoring kids. I think they just send them through the curriculum, so now you know how to hold a camera, how to use a Dx3 menu. You can learn that in five minutes from somebody that doesn't even know anything. But what do you know if you haven't read anything - studied art and studied literature - what do you have to contribute?
I've studied film a lot, so I know much more about film than music, but I don't think I could have made films.
I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.
I never had any social life, just played the piano and studied, studied, studied.
I studied voice when I was at school, and I was in the chamber choir, and I studied music theory as well, so I guess a lot of it came from being taught at school.
Being used to scientific terminology and theory it was always natural for me to push this stuff into songs.
I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums - poems, literature, film, and journalism.
I got expelled from high school, and then did my exams from home. I decided, through that experience, that I was going to expediate my plan and didn't go to university. Instead, I went to a community college and studied the theory and history of film with the idea that I wanted to write and direct.
I studied economics. I studied industrial engineering. It wasn't until later, when I was around 26, that I really decided to go to film school.
The absurd consequences of neglecting structure but using the concept of order just the same are evident if one examines the present terminology of information theory.
My first contact with game theory was a popular article in 'Fortune Magazine' which I read in my last high school year. I was immediately attracted to the subject matter, and when I studied mathematics, I found the fundamental book by von Neumann and Morgenstern in the library and studied it.
I had a drummer in my band who started teaching me tricks to come up with interesting rhythms. Because I don't come from a musical background, I've never studied music, and I don't know music theory at all, so a lot of stuff I discover on my own are things students would learn in the first grade of music.
Any physical theory is always provisional, in the sense that it is only a hypothesis: you can never prove it. No matter how many times the results of experiments agree with some theory, you can never be sure that the next time the result will not contradict the theory.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
I never studied film formally at school, but as a kid, I spent most of my time in cinemas.
This site uses cookies to ensure you get the best experience. More info...
Got it!