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apparatus he likens the movie-goer to someone in a dream. He relates the similarities of being in a darkened room, having someone else control your actions/what you do, and the inactivity and passivity of the two activities. He goes on to say that because movie-goers are not distracted by outside light, noise, etc., due to the nature of a movie theater, they are able to experience the film as if it were reality and they were experiencing the events themselves.
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The meaning of a film, plus the way the viewing subject is constructed and the mechanics of the actual process and production of making the film affect the representation of the subject. This effect is ideological because it is a reproduced reality and the cinematic experience affects the viewer on a
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The idea is that the passive viewers (or Marx's proletariat) cannot tell the difference between the world of cinema and film and the real world. These viewers identify with the characters on screen so strongly that they become susceptible to ideological positioning. In Baudry's theory of the
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of the composition is also ideological. In the simplest instance the cinematic apparatus purports to set before the eye and ear realistic images and sounds. However, the technology disguises how that reality is put together frame by frame.
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Apparatus theory also argues that cinema maintains the dominant ideology of the culture within the viewer. Ideology is not imposed on cinema, but is part of its nature and it shapes the way the audience thinks.
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because its mechanics of representation are ideological, and because the films are created to represent reality. Its mechanics of representation include the
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during the 1970s, following the 1960s when psychoanalytical theories for film were popular.
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Narrative, Apparatus, Ideology: A Film Theory Reader
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deep level. This theory is explored in the work of
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Apparatus theory maintains that cinema is by nature
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