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15 Cards in this Set
- Front
- Back
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Sergei Eisenstein
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Battleship potemkin
editing dialectic conflicts btwn tempo, rhythm of editing, shots and contrasts to provoke thought process of audience, think about larger social implications |
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Kuleshov
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actors face blank, cut to bowl of soup, coffin with dead women, reactions of audience
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Pudovkin "On Editing"
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contrast editing (starving man, wealthy man), parralelism (last hour of mans life everyones different experience of same hour), cross cutting (bull being slaughtered interposing with workers being slaughtered)
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battleship potemkin
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manipulates time odessa step scene
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luis bunel
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Un Chien Andalau, surrealist, shocking, irrational power of dreams, let unconcious flow
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F.W. Murnam
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Sunrise
visually sophisticated |
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tom gunning
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parallel crosss cutting to build tension
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fritz lang
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"m"
German expressionism (influenced film noir) sound/silence at time germany in economic depression documentary like (self-policing) audience often responsible for imagining grusem images |
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André Bazin, "The Evolution of the Language of Cinema"
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argues for long take
an image versus reality audience more interactive, makes choices rather than being led e.g. citizen kane? |
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Howard Hawks
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His Girl Friday
Classical Hollywood Cinema |
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Andrew Saris
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auteurs theory
film history for first time |
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vertical integration
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monopoly of hollywood film industry
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his girl friday
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howard hawks
screwball comedy, women independent, fast talking, rough/sassy men @ work a story teller, not up for flashy camera work reconcile femininity and newsmen |
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Alfred Hitchcock
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Classical Hollywood Cinema (color)
Vertigo |
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Vertigo
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Alfred hitchcock
use of color |
