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59 Cards in this Set
- Front
- Back
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Alan Crosland |
Don Juan The Jazz Singer (starring Al Jolson, movie that changed everything for sound) |
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Bryan Foy |
Lights of New York (First "100% All - Talkie" "Take him for a ride"
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Screwball Comedy |
- romantic - fast paced w/ witty dialogue - relies on confusion + improbable situations - very independent woman - Director: Howard Hawks (Ex. Bringing Up Baby, Ball of Fire, His Girl Friday) - Screenwriter: Quentin Tarantino + Roger Avary (Ex. Pulp Fiction) |
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Howard Hawks |
- Bringing Up Baby - Ball of Fire - His Girl Friday |
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Comedy of Character |
- Actors: Ex. Mae West, W.C. Fields, (Stan) Laruel and (Oliver) Hardy, The Marx Bros in Horsefeathers - Look funny, act funny, speak funny - Similar to Charlie Chaplin |
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Comedy of Manners |
- contrasts natural (good, true) vs. artificial (blindly following rules) - exposes "civilized" behavior as hypocrisy - Director: Ernest Lubitsch - Ex. The Shop Around the Corner, To Be or Not to Be, Ninotchka
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The Shop Around the Corner |
Starring James Stewart + Margaret Sullaven write letters that is true selves (think You've Got Mail) |
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To Be or Not to Be |
Starring Jack Benny + Carole Lombard, critique of artificial self |
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Ninotchka |
Starring Greta Garbo + Melvyn Douglas, lead actress becomes more humane |
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Social Comedy |
- Idealistic: Common Man vs. Corrupt System - Critique: Cynicism has replaced idealism - Director: Frank Capra - Ex. Mr Smith Goes to Washington |
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Mr. Smith Goes to Washington |
- Starring James Stewart + Jean Arthur - Idealistic Hero meets Cynical Heroine and he rekindles her ideals and she helps him beat the system Characteristics 1. Comedy + Drama (social criticism) 2. Reaffirmed tradition values - Truth, Justice, Honesty, Equality, Hard Work, Fair Play - How to make a film about such abstract topics? 3. Answer: Capra courtship
- (reciprocal relationship) b/w man & woman |
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John Ford Poetics: Key thematic tension b/w |
1. Outsider: Identifying with ethnics + other minority groups 2. Insider: Patriotic defender of mainstream |
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John Ford Poetics: Recurring situational motifs |
1. Song & dance - celebrates strength & unity of outsider community - ex. Fort Apache (1948), Rio Grande (1950), They Were Expendable (1945), How Green Was My Valley (1941), The Grapes of Wrath (1940) 2. Parades, military marching - celebrates communal pride |
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John Ford Poetics: Recurring dialectical compositional motifs |
1. light vs. dark (hopeful triumphant vs. troubled tragic)
2. foreground vs. background
* from us (LS = sad shot) * from each other = isolation *ELS = separation + loss |
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John Ford Poetics: Framing w/ doorways + windows |
1. Frames w/i Frames - focus attention - adds depth - Ex. The Searchers - Greeting/farewell - Beginning/ending - Life = Togetherness + separation |
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16 John Ford Poetics: Key recurring themes |
Sense of Loss |
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John Ford Poetics: Humanism |
1. Focused on people over events, on character over plot 2. "The way happens…. The way it happened to me…" 3. Drums along the Mohawk (1939) - st. Henry Fonda, Claudette Colbert |
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John Ford Poetics: Chronicles the American experience as conflicted |
1. triumph vs. tragedy 2. legend vs. fact 3. glory vs. shame - = the unresolved dialectic |
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Ford's Films vs. Hollywood Films
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Equilibrium is never completely restored = qualified happy ending Happiness is often accompanied by loss, sadness, sorrow
ex. The Grapes of Wrath |
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Eye level = power neutral |
1. Viewer & character at equal height |
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High Angle |
1. diminishes importance, agency of character 2. ex. The Sixth Sense (1999) - d. M. Night Shyamalan |
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Low angle |
1. gives character power, dominance 2. shifts focus to wife (in Drums along the Mohawk) |
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Stagecoach (1939) |
d. John Ford st. John Wayne, Claire Trevor - Foreground vs. Background - tension b/w togetherness and separateness
- mise en scene reinforces narrative |
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French Cinema, 1920 - 1940 |
* experimental, art film co-exists with commercial cinema * post WWI, French commercial cinema in crisis but, * regains world prominence by mid-1930s |
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Dada (from late 1910s to mid-1920s) |
- founded in NYC & Switzerland in 1916 by (among others) Marcel Duchamp & Man Ray - Goals 1. Ridicule & abolish accepted norms + traditional art 2. Liberate art from the "Representational Imperative" - need for recognizable imagery - non-representational - abstract - advocated appreciation of formal elements: - line, color, shape, texture, space, etc. - Ex. Man Ray: Emak-Bakia: A Cine Poem
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Surrealism (from mid 1920's to present) |
- "The Surrealist Manifesto" (1924) d. Andre Breton * Reality - Conscious (Waking State)* Super Reality or Surreality = Conscious + Unconscious * Goals 1. Celebrate the irrational 2. Expand the idea of reality 3. Shock & scandalize - d. Luis Buñuel - Un Chien Andalou
- sc. Luis Buñuel + Salvador Dali |
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Singin' In the Rain (1952) |
d. Gene Kelly & Stanley Donen |
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His Girl Friday (1940) |
d. Howard Hawks |
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The Grapes of Wrath (1939) |
d. John Ford |
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The Rules of the Game (1939) |
d. Jean Renoir |
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Citizen Kane (1941) |
d. Orson Welles |
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Louis Delluc said... |
"The French cinema must be cinema; the French cinema must be French" |
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Impressionist Film |
- First experimental French film movement Goals 1. To find the properties unique to cinema 2. To create an authentic French cinema - Loose-knit group of directors
- In practice, narrative films with experimental elements |
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Abel Gance (1889 -1981) - Visionary director
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- Member of Impressionist Group - La Roue or The Wheel (1922) - Napoléon (1927) * 6 hours long * Played French revolutionary Louis Saint-Just * Part 1 of unfinished 6-part bio restored in 1981, '83, 2000 * The most extensive use of experimental techniques of any film. * Clip from Cinema Europe documentary * Takes Eisenstein's Editing Method to limit * Ends in widescreen triptych = Polyvision
* Juxtaposed dif. images |
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Jean Renoir |
- Important for both his Humanism and his STYLE Ex. A Day in the Country (1936) "Do you feel an immense tenderness for it all? For the grass, the water, the trees? A vague sort of yearning… It almost makes me want to cry." Uses real location shooting - Most important French director 1930s
- Son of impressionist Painter (Pierre-August Renoir) |
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Jean Renoir Poetics: |
1. Realism - real locations, natural sound, implies respect for nature, for authentic over artificial 2. Recurring motifs: a. Framing with doorways & windows i. Connector & Collector - Connector = Links people to other people, nature, etc., + Collector = equalizer b. river c. music = celebrates joy of living (especially diegetic music)
d. theater - another connection: performer & audience, also performance unites plays, transcends differences, and theater is like filmmaking 3. Complex mise-enscéne a. Long takes (long - in duration - shot), more natural, realistic b. Moving camera, importance of: off screen space, implies world beyond frame c. moving actors - complex staging
d. composition-in-depth - Deep Focus Cinematography = great depth of field (focus area), renoir wanted everything in focus |
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Orson Welles' Poetics: Ironic use of low angle shots |
Doesn't illustrate power like a normal low angle, instead super low to show character caged in (a trap) |
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Orson Welles' Poetics: Extreme Deep Focus |
- used technicolor lights - sought universal focus - everyone + everything important |
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Orson Welles' Poetics: Variable lighting schemes that permit shadows + darkness |
- influenced by german expressionism |
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Orson Welles' Poetics: Complex mis-en-scéne |
- oral complexity of the world |
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Orson Welles' Poetics: Sound montage |
in 3 dif. senses a. a collage = layers of sound b. Pudovkin's relational editing c. Eisenstein's dialectical montage |
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Orson Welles' Poetics: Deep sound |
moral connection in sight + sound |
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Orson Welles' Poetics: Magical |
- tricks/surprises a. editing tricks (like lighting cuts) b. mise-en-scene tricks (like characters w/ props + staging) economically and efficiently propel the narrative forward |
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Orson Welles' Poetics: Moving Camera |
re extends moral connections into off-screen space |
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Orson Welles' Poetics: Long takes |
deep connections b/w people in tim + space |
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2 types of film sound tech. |
sound on disk sound on film |
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long take |
camera films uninterrupted |
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moving camera |
Renoir in Games.... non static |
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cross cutting |
from one action to another |
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180 |
not 360 like That 70s show |
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Europe vs Western |
Europe - dialectical ( 2 images make another, juxtaposition) Western - hollywood style montage
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Jean Renoir Films |
Boudu Saved from Drowning
The Rules of the Game
The Grand Illusion The River
Toni
A Day in the Country |
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What is the purpose of the hunting sequence in Rules of the Game? |
1. exposes high society "hunting"
2. foreshadowing 3. undermines comedy w/ death
"… a critique of a society I considered rotten to the core…" |
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In Rules of the Game society, the normal rules of morality and conduct are inverted. What are the rules in this society? |
1. Anything goes, have a good time! |
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The River |
Reflection on the birth of a child
"The river runs, the round world spins… the day ends, the end begins." |
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Toni (1934) |
Final exchange between 2 railway workers
Opposition to boundaries ("i go wherever I can eat, that's why you're so fat") |
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The Grand Illusion (1937) |
Christmas Eve - music - manger "theater" - doorway as connector
- characters transcending boundaries |
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Welles' Question: Can one act ethically in a morally complex world?
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No, Corruption & ambition overwhelm goodness + innocence |
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Orson Welles Films |
GoodFellas Raging Bull The Magnificent Ambersons
The Orson Welles Story Macbeth
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