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60 Cards in this Set
- Front
- Back
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Manhunter
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Michael mann
Dante Spinott Mel Bourne Colleen atwood |
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oh brother where art thou?
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J&E coen
Roger deakens Dennis Gassner Mary Zophres |
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Orson Wells
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Citizen Kane
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Fantasia
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Walt Disney
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Raising Arizona
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Coen bros
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Big Lebowski
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Coen Bros
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Fargo
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Coen Bros
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Stage Coach
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John Ford
John Wayne |
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High Noon
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Fred zinneman
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Outland
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Peter Hyams
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Blazing Saddles
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Mel Brooks
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Hands on a hard body
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S.R. Bindler
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Nanook of the North
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Robert Flaherty
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Primary
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Robert Drew
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The Private life of Plants
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Neil Lucas
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Snow White
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Dave Fleisher
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Snow White
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Walt Disney
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Boogie Doodle
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Norman Mclaren
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Death of Stalinism in Bohemia
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Jan Svankmajor
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Ran
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Akira Kurosawa
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Scrub me momma to a boogie beat
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Walter Lantz
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Shaft
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Gordon Parks
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Ghostbusters
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Ivan Reitman
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The Shawshank Redemption
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Frank Darabont
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Xala
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Ousmane Sembene
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Third World Cop
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Chris Browne
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Why has bodidharma left for the east
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Bae Yong-Kyon
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Wolf cub with people
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Talgat Temenov
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Package Unit System
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Every film is a stand alone project, agents put together projects
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cahiers du cinema
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first film critics
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auteur theory
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film can have an author but not all films do. author is always the director - Francois Trufeaux
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directors
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techinical competence - lowest tier in art terms
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mettier-en-scene
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tech competence - distinctive visual style
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Auteur
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tech comp - visual style - shared thematic concerns and aesthetic
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miracle decision
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1st ammendment rights extended to film 1952
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conventions of narrative
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done over and over again so eventually they become unwritten rules
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iconography
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single image that invokes in you the entire map of the movie
elements of form that are closely linked to a genre |
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fixed elements
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genre standards - adverse to change
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dynamic elements
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genre standards - change easily
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documentary
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non fiction film focused on truth and objectivity
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pro-filmic reality
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before the film camera deals w/ stuff that really happened
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categorical form
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any documentary about a certain topic (civil war)
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rhetorical form
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has a point to make argumentative to support a claim
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categorica form v. rhetorical form
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this system doesnt really work because a film maker always has an agenda
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interactive mode
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interview as a mechanism openly acknowledge camera
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observational aproach
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erase the camera from the event
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expository form
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like a lecture. science films are usually like this
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synthetic cinema
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no happening. did not actually occur. animation
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graphic animation
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form defined by lines morphic movement. not considered art
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plastic
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maleable form - paints - fine arts
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photomimetic
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animation that mimics recorded cinema
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associational aproach
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???
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ideology
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obscures itself. the set of forces that make the status quo normal. tells us how things became the way they are
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first cinemas
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also Dominant cinemas
high cost; high risk; high return transnational cinema - circulation in high volume of countries generic categories are more of the text than ideologies |
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second cinemas
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emerging cinemas
national instead of translational cost risk and return are lower |
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third cinemas
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marginal cinemas
lie outside of priviledge and affluence dont always have the best technology available |
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shadows
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john cassavetes
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scent of green papaya
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anh hung tran
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prospero's books
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peter greenaway
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gi jane
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ridley scott
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