Filmmirror Philosophy
Explanation (short version)

The 'film mirror philosophy' is a guarantee for product quality for the viewer/audience/consumer/user.
The word-part film* stands for a story that is told with moving images.
The word-part mirror works by 3 elements:

1. The hardware* (glass + silver coating);
2. The software* (the mirrored images);
3. Light (the energy).

The word-part 'philosophy' stands for a particular method of thinking.
The word 'method' includes much more than technology; It is the AV software* program.

The methodical intent to direct film-/TV pictures on such a way that it is as if the consumer looks in a technically evolved mirror and sees his/her own self-image.
Not only in appearance, but as much inner imaging (…).

The intended effect for inner imaging is that the user ''looks inwardly'' and learns to control (better) his/her "self".

• In other words: the film mirror philosophy makes by special artistic imaginings (cinematography) use of high-quality media technology to initiate self-education. This learning effect is created by letting the viewer follow rubbernecking* procedures.

The word-parts together stands for a new, original-innovative concept, that is ''invented'' by Casting International, who has developed it further.

Movie and TV media are generally considered to be the mirrors of society.
Here the film mirror philosophy reasons further: He(She) who observe another in a mirror, mirrors softly.

If you look in a mirror, you get a 2-dimensional reality image with high empathy level.
Products by Casting International will also contain such an high empathy.
For this ability the following cinematographic elements are provided:

1. A cinematographically* natural-to-life reality view, which expresses itself in (functional) tight performance of the acts (a human added value agreements).
2. A reality view that has interpersonal characteristics in nature (cinematic added value).
3. A focus on Human Being as consciousness* phenomenon (human-nature interest added value).
4. The product as entry-medium, this barrels realities together, so that the process of individual education through experiential learning goes faster (social added value).

• An entry-medium functions differently than the conventional flee-media.
  The intent of an entry-medium is to involve the viewer more in 'real world business';
  while a flee-medium (''normal'' entertainment) is responding to the thought that the viewer wants to forget his/her own drama-shit in life, the viewer can flee away in this medium in a fantasy.

The film mirror philosophy operates as follows:
At the same position and point of view* in principle each person sees VISUALLY the same relative truth * of phenomenology* in a mirror as a mirror image.
A technically evolved hardware* mirror is the camera, which gives, when the position is same for anyone watching, in the projection the same images and the same point of view for everyone.

In addition to the technical evaluated mirror, the area use also AUDIO sensory for relative truth* of the mirror-phenomenology*.

• An example of the Audio software imaging is the emo's (added sounds focusing on thrilling the emotions of the viewer), which have purely the purpose to make more identifications taking place during the projections. Emotion* is defined as energy in motion.

The film mirror philosophy can be summed up as:

Identification* comes from idea and entity (appearance), jointly to become one: the idea of the I (me) of the customer corresponds with the projected sensory manifestations, in this present case, that of AV (film).
As a result, the mind of the beholder "forget" himself, and becomes one with the projected image.
Identification can be defined as: unification of the spectator in the projection in an imaginary way.
The basis of this melting emphasis of Human mind is agreements (one taste) instead of differences (duality).

In the film-science, filmmakers philosophize since the beginning of this medium about use and comparison with mirrors, because film images are illusion and dream related.
The power of this new, original-innovative film mirror philosophy / approach / methodology is that it merges entertainment and education, making the experience for the viewer accelerated greatly learning.
This gives an authentic new social added value.
The film mirror philosophy is imperfect for application in the ''real estate world'' because it miss several dimensions and senses (e.g. smell, touch, etc.).

Annex A) associated with Film mirror philosophy

On the left you will find a typical visualization of the film mirror philosophy:

A vehicle (train/tram/bus/metro/airplane, etc), symbol for a story that is told, goes from left to right in the image.

Mirror 1

Suddenly there is approaching another vehicle (story) on the same track.
The 2 drive right to each other.

Mirror 2

The action is groundbreaking spectacular, lots of action, a lot of rattling noises, Visual in slowmotion.
It is a mirror where a train is driving through it.

Mirror 3

The story goes (and turned out to be from the beginning) from right to left to go!

Mirror 4

The effect after "Heuh?!" (mirror 2) or "Oops" (mirror 3) is that you have undergone an experience in a way that it brings you in a positive state of mind of ‘’Aha!’’ (mirror 4).
This affects directly your categorization ability and memory {according to scientific research of Prof. Martha Kutas (Hungary)}.
The products of CISU generate creativity* by the wink humor* and that positive mood.

This is a short summary.
For more information, such as how this view/philosophy is realized optimally in our breathtaking film products, please contact Casting International by using the button below