Sac 236 Lectures

Front 1

Movie making comes up in late ____

Back 1

1800s

Front 2

Phenakistoscope date and description

Back 2

1832 and machine that shows moving images

Front 3

Edweard Muybridge

Back 3

• Photographer
• Experimented with
series photography
• E.g. “Horse &
Carriage” (1878) at
0.5 second intervals

Front 4

Thomas Edison

Back 4

• Inventor of phonograph & electric lightbulb
• Early 1890s: Invented “Kinetograph” &
“Kinetoscope” with W.K.L Dickson
• Film Strips of 20 seconds

Front 5

Lumiere brothers (country and description)

Back 5

• Auguste and Louis Lumière
• Inventors of the “Cinématographe” - Camera / Printer /
Projector
• March 19, 1895: Shot First Film, Workers Leaving the
Factory
• December 28, 1895: First Public Screening in Paris
“Grand Café

Front 6

Sklandowsky brothers

Back 6

Inventors of the “Bioscop”
• November 2, 1895: First Public
Screening in Berlin Variety
Theater

Front 7

film analysis

Back 7

Study of the formal, institutional, historiTcal dimensions of film and how they work together to produce a given film's overall meaning

Front 8

Production phases

Back 8

Preproduction
(months or years)
§ Funding
§ Screenplay
§ Production Design
§ Scheduling
§ Location Scouting
¡ Production
(4-8 weeks; 2002 average for Hollywood: 50 days;
The Artist: 4 Oct – 19 Nov, 2010)
§ Rehearsals
§ Staging
§ Lighting
§ Principal Photography
¡ Postproduction
(half a year to two years)
§ Editing
§ Sound Editing
§ Printing
¡ Marketing
(throughout)

Front 9

Exhibition

Back 9

§ Physical environment in which we view a movie
§ Temporal frameworks: when, for how long, do we watch a movie?
§ Technological format through which we view a movie (“Platforms”)

Front 10

Widescreen cinemascope

Back 10

2:35.1

Front 11

Academy ratio

Back 11

1.33:1

Front 12

mise-en-scene

Back 12

“putting into
the scene” / “putting onto the
stage”
¡ staging, designing, controlling
what appears in the film frame
¡ Constructing the pro-filmic space,
i.e. staging the space to be filmed
by the camera.

Front 13

screen space

Back 13

The twodimensional representation of
three-dimensional, profilmic
space.

Front 14

Depth cues

Back 14

¡ Overlap
¡ Linear perspective (converging parallels)
¡ Relative size
¡ Planes of the image
¡ Aerial perspective (front sharp/back fuzzy)
¡ Cast shadows
¡ Color (cool/pale recedes; warm/saturated comes forward)

Front 15

Soft light

Back 15

It means that the light that falls on the subject comes from multiple sources, from multiple directions or from a single, very large light source quite close to the subject. It does not cast deep shadows, and where it does, it has a soft edge, rather than an abrupt transition from dark to light.

Front 16

Hard light

Back 16

Light that comes from a single, point source, such as a naked bulb, and falls directly on the subject from one direction, without being reflected off another surface

Front 17

German expressionist movement in art

Back 17

Expression of inner vision rather than objective
impression

¡ Setting:
§ stylized; generally studio
¡ Costume & Make-Up:
§ expressive, foregrounded: draws
our attention
¡ Staging / Acting:
§ expressive, visualizing emotion
(face, hands, body)
¡ Lighting:
§ “chiaroscuro”
§ guides attention, becomes a motif

Front 18

Classical Hollywood Realism
(1917-1960 and beyond)

Back 18

§ Mise-en-scène is unobtrusive /
“invisible”: subordinated to
narrative
§ Naturalist Acting
§ High key, three-point lightin

Front 19

“Neorealism” (post-1945
Italy

Back 19

– Location shooting
– Amateur acting
– Emphasis on the everyday

Front 20

Careful control of all mise-en-scene aspects in Metropolis

Back 20

§ Ornamental, often geometric
compositions - of screen
space, of masses
§ Symbolic compositions:
pyramids, religious
iconography
§ Deliberate play with time (esp.
beat, rhythm)
§ Expressionist sets and lighting
desig

Front 21

Time motif Metropolis

Back 21

• Clocks
• Shifts
• Meeting Time
• Rhythms
• Shifts
• Rhythmic Movement
vs. Uncontrolled
Movement