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71 Cards in this Set
- Front
- Back
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Kracauer theory of two dominant tendencies/modes of filmmaking
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Realistic Tendency
Formative Tendency |
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The Lumiere Paradigm
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1895-these brothers created the medium of film
-representations of these realist tendencies are found in shots of a crowded street, public place, scenes of the everyday Ex: Arrival of a train |
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Miele's Paradigm
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focused on construction of imagined events.
created vast illusions via the use of cinematographic technique -use of multiple exposure, superimposition, trick photography Ex: Trip to the Moon |
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Bazin's theory of a realist cinema
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-believes cinema is an inherently realistic medium
-film above paintings -film has a natural ability to record the event in time -film maker should not embrace a subjective interpretation -filmmaker should strive to embrace physical reality |
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Bazin's Realism
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-Artistic realism evolved from previous art practices...cave drawings, mummification, photography..to cinema
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Bazin's belief
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Cinema is the highest form of representation
(sound, color, depth of field, close-up shots, sequence shots) Film realism is everything that can support it: invisible editing, deep focus, mise-en-scene |
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Realist Principles
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movies that attempt to reproduce reality as an objective mirror of the social world
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Realist filmmakers
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-tend to present the world as objective phenomena
-focuses on presenting a world free of illusions -free of distortions, unedited reality Ex: Documentary film is an extreme form of realism |
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Realist Principles in film
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1-costume and make-up
2-setting (historical and contemporary) 3-unstylized lighting techniques 4-naturalistic acting 5-authentic dialogue 6-fidelity to characters 7-adherence to the truth |
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2 types of Realist Modes
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1-Ordinary Fictional Realism
2-Historical Realism |
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Ordinary Fictional Realism
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-representations of social world seem familiar to spectator
-factors of time/space and cultural worlds and practices are recognizable -linear narrative development and logical -characters and events are realistic and believable Ex: Beautiful Mind |
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Historical Realism
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-authentic period detail
-historically accurate production and design -costume design serves to authenticate the historical period -cinematography attempts to reproduce the light as it would be in that historical period -language, speech, and vernacular are historically appopriate |
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Inherent problems associated with the realist paradigm
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-how do you present reality outside of culture
-editing -does not take into account the mind of the spectator -someone's editing, someone is making a decision about how to make the shot -the shot is evaluated not by what it adds to reality but by what it REVEALS about it |
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Bazin...on directors
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two broad and opposing trends-
those directors who put there faith in the image and those who put their faith in reality |
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Belaz--The Close-up
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What holds the sectional pictures together? montage or the cutting of the film
sound, the close-up shot, -viewer is oriented by the sound, gesture, form, where the eye is drawn, the moving camera creates a whole new language in cinema -provides us with a new understanding of the "soul" of things |
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Origins of Formalism
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Classical German Expressionism
-roots in German theater and painting -emphasis on distortions of reality -lighting places emphasis on visual contrast, oblique angles -sets are deliberately skewed and space is de-centered -emphasizes subjective interpretation of reality |
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Basic Principles of Formalist cinema
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-use of 'odd camera angles'
-acting has an expressionist look where physical appearance is exaggerated, distorted and grotesque -soundtrack is often designed to accentuate emotion in film-fear, anxiety -represents a revolt against realism and linear plot structures -embraces a visual aesthetic, poetic cinema |
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Issues with Formalism and Realism
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-creates an unnecessary paradigm
-not all films are strictly realist or strictly formalist -film can transform the real world -no barrier to what the imagination can produce -filmmaker makes their own representation of the story -subjectivity is a big part of formalism |
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What is Modernism?
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-no single definition
-wide and diverse cultural movement -response to the condition of modernity and the experience of it -paradigmatic shifts in art production and consumption -modernism has multiple streams of art practices, cinema, books, plays -multiple historical perspectives French, American, Russian |
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Technology and the mechanical image
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-without technology there is no cinema
-film is a mechanical reproduction of reality-Arnheim say NO -links film to modernist movement |
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Film has the power to...
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Promote-democratic discourse
Engage-existentially Transform-power to change |
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Absence of space-time continuum
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-can transform our views of the social world because of the absence of the space-time cont.
-film shot allows film to compress time and space -but only because of the technology |
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Walter Benjamin
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-film technology presents a new way to engage the social world
-focuses on the politics of reception: how we receive the image, filmmaker percieves and transmits their politics -"function of film is to train human beings in the apperceptions and reactions needed to deal with a vast apparatus (consumerism) whose role in their lives is expanding daily" |
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Tarkovsky's The Film Image
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-we watch movies to capture time
Rhythm of film-sense of time -director reveals individuality -rhythm colors the work with stylistic marks-not thought up, not composed on an arbitrary theoretical basis, comes spontaneously in film, in response to the director's innate awareness of life-search for time/meaning -philosophy of life -sculpting in time -cinema that focuses on the 'Star' system is aesthetically bankrupt |
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Munsterberg's theory of the photoplay
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-argued for the specificity of the cinema
-cinematic experience can and does transform how moviegoers view and experience the world around them -rejects notion that fil is a mere reproduction of the material world -foreground psychological dimensions of cinema as opposed to the sociological representations -rejects the reality of film-experience of film is rooted in memory not reality -says going to the movie you have a specific experience |
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Film shot is...
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-system of significations
-system of representations -ordering of shots and mise-en-scene close-up shot-shows the depth of human emotion -the breaking down of space and it signifies meaning to the audience Film directing is the mastering of the film shot |
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Plato's allegory of the cave
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-image is a mere reflection of physical reality/material world
-material world is an expression of the divine realm or intelligible realm -properties of allegory in relation to cinema Cave=theater Light=cinematographer Prisoners=movie audience Fire shadows=motion pictures -Plato's terms our experience of image as structured by projections, phantoms, and shadows |
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Key Principles of narrative in cinema
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-Causality-cause and effect, propels the story forward
-Time –temporal process, all narratives are framed by time -Space-historical space (moment in history), geographical space (a place) |
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Diegesis
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settings, sounds, dramatic events and characters within the film frame
-All elements that function within the spatial architecture of the frame -Running time/Screen time -Presentation of events -Selection and organization of narrative events -Compression of time and space |
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non-diegesis/extra diegesis
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Events and story elements that audiences are aware of but the characters in the movie are not.—operate in the mind of the spectator
-Functions of film narrator: Non-diagetic: Addresses the film sudience directly -Non-diagetic voiceover narration |
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Relationship between the fabula and syuzhet in narrative structure
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Fabula-chronological story
Syuzhet-the reorganized abbreviated version of events Plot-sequencing of selected events Story-larger set of events including events alluded to but not seen within diagetic space, such as the backstory “The significance of the difference between fabula (storyworld) and syuzhet (ordering of the events on the screen) is not simply that events are left out. Instead, the very important questions is: what is the effect of these choices?”” Wallis Significance of narrative structure and narrative techniques: flashback structure and flash forward, dream sequence, parallel narratives The repositioning of events can and does influence audience perception and understanding of the fabula |
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Contribution of fictive stance in narrative development
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-2046, director Wong Kar Wai -an understanding between filmmaker and audience -relationship between the fabula and syuzhet -suspension of audience disbelief |
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Principles of anti-narrative structure
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Alternative Cinema Practice
-Art Cinema defines itself against classical cinema -Art Cinema thrives on realism and authorial activity -Loose causation -Open texts -Against narrative closure -A cinema of “psychological effects” in search of causation |
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Three-act-structure as an idealogical practice
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-Narrative as ideological practice
-Aristotle’s structure as the preferred model -History and practice -Hegemony v. creativity The Poetics as Ideological Practice -Aristotle’s Poetics Act 1-character introduction, main goals and conflicts Act 2-protaginist encounter obstacles Act 3-‘denouement’ events that lead to a resolution or narrative closure |
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Bordwell
The Institutional Framework |
“Finally, in constructing alternatives to Hollywood, we must recognize that the historical centrality of that mode creates a constant and complex interchange with other modes.No absolute, pure alternative to Hollywood exists…Hollywood’s mode of production continues to exert a power that can be opposed only by a knowledge of its past…”
-Responses of National and avant-garde cinemas -Ideological repetition operates through dominant institutional practices -Cultural practices a re hegemonically inscribed from within -Role of the producer/director within the industry -Can the producer/director challenge institutional hegemony? -Is the director/producer an ideological tool of the Hollywood system? -Is film authorship a real possibility or is it a fantasy? *Depends on Money $$$, there are politics involved in making films |
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Origin of auteur theory
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-Began as a political gesture in post-war France
-French cineastes expressed dissatisfaction with the French cinema- “the tradition of quality” -Hollywood connection…the French watched a lot of Hollywood films and became dissatisfied with French films -Alexandre Astruc’s 1948 article “the Birth of a New Avant-Garde: La Camera Stylo” -Astruc intervened in French film culture-did not think cinema and literature should be connected |
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History of auteur theory
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-the role of the writer as the key determinant of culture
-displacement of the writer by the reader of the text -reception practices: how texts are circulated, consumed and reproduced -there is a relationship between the production, reception, and spectatorship -how might film authorship be understood in light of these critical shifts? *spectatorship is considered from the beginning of making films |
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History of authorship
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- the artist as sole author is rooted I literary history
- the relationship between art and authorship is framed by notions of the “masterpiece” - Art, authorship and “masterpiece” are linked to commerce - In film studies, authorship is linked to ranking certain films as art, as opposed to cheap entertainment - a desire to rank certain filmmakers as artists rather than film technicians - The author as the maker and key determinant of meaning |
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Key tenets of auteurism in the cinema
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-Austuc’s intervention achieved five things:
1. Broke cinema’s reliance on literary models (literature as a source of storytelling). 2. That cinema is a means of expression independent of other art forms 3. La camera stylo focused the director’s creative ability to use cinematic techniques to express personal obsessions 4. Cinema is a mode of writing 5. Film like other art forms is its own creative medium with unique properties & techniques 6. The director is the key determinant in the aesthetic production of a work *the idea of the director as key determinant, but it is not a universal |
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Auteur theory in relationship to American cinema
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Andrew Sarris: “The American Cinema: Directors and Directions 1929-1968
-argument: opposed the tradition of film reviews, star profiles, screenwriter and producer. He instead placed the director at the center of the discourse -Established a set of evaluative criteria to determine the director as auteur: 1. Technical competence 2. Distinct visual style 3. Emergence of an “interior meaning” (between the filmmaker/studio) 4. The conditions of production (context of production is important, $, actors, Staff) 5. Institutional tensions Sarris prescribed the tenets for creative agency in the American studio system • with these things an auteur can affirm his/her agency • Quentin Tarrintino thinks he is an auteur (?) |
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Problems associated with auteur theory
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Sarris and Critic Response
Film is a medium of collaboration -Personal vision can be constricted by institutional factors -Tendency towards dictatorial control of the filmmaking process -Film directors often work closely with screenwriters, cinematographers, editors, etc. Pauline Kael: Sarris reduces all films to a privileged level of art “Auteur theory, silly as it is can nevertheless be a dangerous theory…because it offers nothing but commercial goals to the young artists who maybe be trying to do something in film.” Pauline Kael Sarris has created a CANON of film auteur and this is dangerous |
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Auteur theory-
theory or a series of debates? |
-Authorship is a useful concept for humanism and the functioning of capitalism
-The concept of authorship has four main functions-Michel Foucault, “What is an Author?” -a name creates a designation )ex: James Cameron) -designation permits categorization—a method to group texts (Hitchcock) way to market films -Categorization produces cultural status in culture (Martin Scorsce) -Categorizing tend to infer meaning on texts ) Hitchcock v Cameron -“The author-function” author has a function within the culture -Authored texts can lead to discipline and punishment –director’s cut, editing of a film, not going to the film, punish the actor if they act against type -Authorship is useful for capitalism and the promotion of the individual as a commodity for profit generation Filmmakers, Actors and Film itself are commodities… DEBATE -Function of the reader -Authorship is a fantasy construction of the reader -Roland Barthes “The birth of the reader must be at the cost of the death of the author…b |
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Semiotics
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-A system of signs and representations
-What is a sign-any cultural product or image capable of producing meaning is a sign -The sign always stands for something else The sign has two components the signifier and the signified The signifier is the object, image or word The signified is the underlying meaning of the signifier Signification (Meaning) is always arbitrary-meaning is always contextual Signifier and signified are articulations of the patriarchal unconscious |
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Denotation and Connotation and their relationship to the film image
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Denotation-the word, sound, image exists on a descriptive level
-on this level signs are value-free Connotations-means to go beyond the descriptive sign -Signs carry connotations or associations Connotations in film include film shots lighting sound costumes and performance carry connotations Connotation forces us to ask: “what are the meaning associated with a given sign?” Ex: picture of music sheet from Blue…blue light—representation of her inner self and the feelings she is having…she wrote the music |
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Laura Mulvey-women's counter cinema
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-Dominant cinema has the propensity to structure ways of seeing and pleasure on looking
-technological changes in the cinematic apparatus changed the conditions of the film production “Alternative cinema opened the space for a politically radical new aesthetic argued that Hollywood coded the ‘erotic’ into the language of patriarchy -investigates the ways In which Hollywood structures desire and visual pleasure -negates the terms and conditions upon which women’s images are formed and perceived in mainstream cinema |
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Scopophilia
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proposed that cinema inherently offers a number of possible pleasure such as
-looking as a source of pleasure or deriving pleasure form being looked at -cites Freud’s Three Essays on Sexuality Cinema Pleasure and Spectatorship Freud: exists as an instinct of sexuality -implies the desiring people as objects and subjecting them to a controlling gaze -is a the root of objectification or of an objectified other The conventions of narrative cinema and its relationship to spectators produces voyeuristic pleasures and fantasies it promotes the illusion of looking in on a private world |
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Women as Object of the Gaze
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Cinematic pleasire is structured by a dichotomy
1. Active/Male 2. Passive/Female Male gaze: The determination of male sexual fantasy onto women: 1. Women are looked at by the controlling gaze 2-Women’s screen appearance is coded for erotic and visual impact 3-woman holds the look and signifies male desire |
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Woman as Cinematic Spectacle
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Woman as Cinematic Spectacle
-woman is the central figure of spectacle in narrative film Two functions: 1-as an erotic object within the narrative 2-as an erotic object for spectators Narrative film is structured by a heterosexual division of labor which in turn controls narrative development Woman as Image |
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Gender and Visual Representation
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Dominant representation is a heterosexual on
Film Noir-Women’s sexuality is threatening Horror-Women have a death wish In the Western Genre there is a very specific representation of men and women -can only survive on that genre When you have a film like Brokeback Mountain it explodes the genre -could not have been made during the time of Westerns -progress has been made in this area Movies are the products of human imagination -constructed -ideological focus |
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Feminist Film Theory: Origin and Evolution
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Three historical trajectories shaped the mergence of feminist film theory:
-The women’s movement -Independent film practice-used film to project alternative experiences, those that are typically marginalized or not made, taking control of the apparatus -Academic film studies |
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Feminist Filmmaking Practices
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Earliest films were documentaries-trying to change the consciousness
ex: Growing up Female, Julie Reichert & James Klein -Attempt to demystify Hollywood’s negative representations of women The Journal Screen British magazine where a lot of feminist theory was worked out Three methodologies and theoretical approaches: 1. Semiotics 2. Marxism 3. Psychoanalysis All three approaches examined women and their visual representation |
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Semiotic Codes and Conventions
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-codes and conventions constitute the basis through which signs communicate
Signs and conventions are products of culture—culturally shared -Cultural knowledge -cinema communicated through codes enshrined in the image -Deconstruct the image The Sign and System of Difference -words/signs do not mean anything on their own -words/signs are part of a “system of difference” -“long shot” exists in relation to the close-up |
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Ann Kaplan
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-a reconsideration of the male gaze
Is the gaze inherently male? Can women have their own gaze? Kaplan, “Would women want to own the gaze, if it were possible?” In context of film culture what does it mean to be a female spectator? Can there be a female voice, female subjectivity and desire in relation to the image? |
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Cinema is structures around three male looks
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1) The pro-filmic events –the camera, the male cinematographer and the event being filmed that is also voyeuristic
2) The controlling gaze of men within the narrative—women are objects of the gaze-they are objectified 3) The gaze of the male spectator thrives upon the first two gazes The idea of the gaze has to do with men-but Kaplan sees this as problematic |
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Women's counter cinema
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Feminist film culture of the 1970 produced two concerns with regard to women’s cinema
The documentation of women’s experiences for consciousness raising purposes positive images self-expression control the apparatus of image production Focused on deconstructing the ideological codes The Apparatus of Image Production _To counter act the realism of patriarchal representations women must embrace the avant-garde and independent film practices -Opposition to dominant cinema’s institutional practices -Opposed the illusionism of narrative cinema -Embrace the techniques and objectives of formalism -Recognition of spectatorship and its relationship to the production of meaning |
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Objectives of A Feminist Cinema
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-The destruction of narrative and visual pleasure
-Avoid politics of emotions -Problematize the female spectators identification and its problems. -Definitions of self & women’s subjectivity -Male hegemony of women’s image -The Project of Women’s Empowerment -Commercial Cinema/Independent Film -Political –not much power in the financing of movies -Strategy |
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Feminist cinema
Three interrelated processes: |
-Film Production-> Internet has leveled the playing field to some degree
-Film Distribution-> who is going to show the film, mostly at art cinemas -Film Reception Practices -Johnston’s intervention |
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Feminist cinema
Collective film practice |
-Key Strategic Principles:
1-Develop a collective practice 2-Challenge to patriarchy 3-Political motivation 4-Deconstruct objectification 5-Empowerment and entertainment values -Cinema’s ability to create collective entertainment -Political ideology -Women should work within the film industry -Women’s labor outside dominate institutions |
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Third cinema response to 1st cinema
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1st Cinema is the model imposed on global culture by the American film industry -This model proposed: narrative preferences, assumes a relationship between the film and spectator and cinema is viewed as pure spectacle
-Audiences are passive in North America—3rd Cinema Model believes audiences should interact and deconstruct the films that they watch -Hollywood is spectacle LIKE Spartucus…made by Kubrick at 22…nailed and then was able to make any film he wants to make |
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Third cinema in relation to art cinema practices
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2nd Cinema: Art cinema/auteur cinemas an alternative to Hollywood cinema:
New German cinema –critique of the Nazi Holocaust French New Wave— Italian Art Cinema 2nd Cinema produced its own institutional structures, patterns of distribution and exhibition, ideologies, critics and film culture -stood in conflict with the Hollywood model -produced it’s own institutional structures-movie houses, etc -a very particular aesthetic -produces its own critics…creating a whole new film culture, radically different that the Hollywood film model, champion works of filmmakers like Chris Marker (La Jette) |
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Third Cinema
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-Third cinema is film produced by African, Asian and Latin American filmmakers
-Distinct political and aesthetic project in image production -Films made by collectives or activists -Expression of political and cultural changes within society -Focused on the construction and reconstruction of history and the significance of the underclass making history—should give voice to the underclass “What determines third cinema is the conception of the world and not the genre or an explicitly political approach. Any story any subject can be taken up by third cinema. In the dependent countries, third cinema is a cinema of decolonization, which expresses the will to national liberation, anti-mythic, anti-racist, anti-bourgeois, and popular.: -CineAction |
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History and Context of Third Cinema
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In 1968 Grupo Cine Liberacion completed a three part political film social documentary running four and half hours entitled Hour of he Furnance:
Shot semi-clandestinely in conjunction with cadres of the Peronist movement. We have to look at the film in context of what was going on in Argentina—the connection between South American and North America-Imperialism. Argentina film at the time was making films that supported the government political agenda. Hour of the Furnance is an epic poetic documentary weaving disparate styles and materials: 1. Direct cinema 2. Techniques of advertising 3. Photographs 4. Newsreel 5. Testimonial footage 6. Film clips The film drew from the experiential avant-garde to the mainstream commercial cinema. the film is an open text and has no narrative closure. |
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Third World Cinema Manifesto
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Solanas and Getino produced the definitive document/manifesto for a cinema of liberation
Bandung conference in Signapore in 1952…this is where the Non-Aligned Movement was formed as a third path in light of the Cold War to create a politically independent entity China proposed the theory of three worlds: 1st World: Advanced capitalist countries 2nd world: USSR and Socialist Countries 3rd World: Countries of Asia< Africa and Latin America |
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National Cinema Debate
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-Historically the debate on national cinema entertained commonsense notions as to its formation:
1) The promotion and dissemination of non-Hollywood cinema 2) A marketing strategy for “art films” outside the mainstream of dominant cinema—not doubt national cinema has changed because of globalization 3) The notion that national cinemas are ostensibly film texts produced and primarily consumed within the borders of the nation-state. The national has been transformed by the processes of globalization: 1) “Global Spread” of capital in terms of film production 2) Expansion of global markets-want the film to travel as far as possible into as many markets as possible 3) Innovations in digital communication networks—satellite television, internet, mobile gadgets etc. 4) Collapse of communism, the dismantling of the Berlin Wall and the decline of American hegemonic power—easier for films to travel across boundaries |
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Appadurai's model of cultural globalization
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-Analysis should focus on the formation and evolution of “disjunctive flows” Thus the Five dimensions of cultural globalization
-Ethnoscapes (tourists, refugees, immigrants, exiles)—don’t all have the same interest -Technoscapes (mechanical, digital, and informational)—nations are connected digitally -Financescapes (international finance, interconnectedness of markets and the flow of finance capital)—formation and evolution of finance capital -Mediascapes (film, television, internet systems & social networking sites) Facebook, Skpe-defined by technologies -Ideascapes (Jihadist ideologies, rhetoric of Western democrat, political movements)—Wall Street |
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Appadurai’s Model
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-Offers a map for studying the antagonistic relationship between the “state and the nation.”
-For Example: The USSR, post-Soviet society, Iraq and Nigeria(vibrant film industry) -Accentuates the role of the state in the suppression of ethnic, religious and cultural differences -The case of Sergei Paradjanov in Soviet cinema -off Armenia-Georgian decent—normally fall under Soviet state but his addresses the national state of Amernia-Georgian experience -Color of Pomegranates -The marginalization of minority cinemas in China by the dominant Han Chinese—Chinese national cinema suppresses the many other minority groups in China |
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Stephen Croft’s Model of national cinema
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-Croft proposes that the focus of analysis should be on states and nation-state cinemas
-Croft sidesteps the idea of nations and national cinemas for the following reasons: 1) Historically, cinemas studies focused primarily on “film texts” produces within the nation 2) These texts are then suppose t reflect the “national spirit” 3) The scholarship prior to the 1980s failed to problematize the “nation” as a category National Cinema—Canons of films that are designated as part of the national cinema Problematic because is “Hollywood” American National Cinema? -Varieties of national cinemas, which can be defined in terms of: 1) Institutional formation (production) 2) Specific cinematic histories 3) Exhibition networks 4) Audience participation 5) Role of film critics 6) Regional, cultural, historical and linguistic differences |
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Nation-state Cinema
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-Nation-state productions are often defined against Hollywood
-Hollywood as a global force has dominated international film markets since 1919—in 19114 90% of films distributed worldwide were French—by 1928 85% were American -Hollywood has a transnational reach because of its business framework is vertically and horizontally integrated -Hollywood Studios are transnational operations |
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Croft argues
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Due to the unequal economic and cultural exchange Croft argues that:
-Most “national cinemas” are forced to operate on an agenda set by Hollywood -That these cinemas have invariably incorporated elements of Hollywood’s narrative structure -Hollywood interests in the Anglophone world have assumed control of the distribution |
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Croft proposes
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the “economic, political and cultural regimes” of different nations-states have determined seven varieties of national cinemas
1) Cinemas which differ from Hollywood—specialist market France, India , Nigeria 2) Those which differ do not compete directly but critique Hollywood France India 3) Third World and European cinemas which struggle Hollywood France 4) Cinemas which ignore Hollywood altogether India 5) Anglophone cinemas which try to out compete Hollywood…failed miserably a. Ken Loch, early Danny Boyle, Kenneth Braunaugh, Guy Ritchie 6) Cinemas which operate within a state-controlled environment and are often subsidized by the state-The British Film Industry—get money from the government—Canada—Ministry of culture subsidize the films 7) Regional or national cinemas whose culture/language different format he agenda of the nation states |
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Varieties of Nation-state cinemas
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-European Art Cinema
-Third Cinema -Third World and European Commercial Cinemas -Ignoring Hollywood -Imitating Hollywood -Totalitarian Cinemas -Regional Ethnic Cinemas |
