FILM 1502 1nd EditionFinal Exam Study Guide Lectures: 14- 27Film Titles, Directors and Dates- Jaws (Steven Spielberg, 1975)- Fight Club (David Fincher, 1999)- Halloween (John Carpenter, 1978)- Once Upon a Time in the West (Sergio Leone, 1969)- Grizzly Man (Werner Herzog, 2005)- Un chien andalou (Luis Brunuel, 1929), A Movie (Bruce Connor, 1958), Mothlight (Stan Brakhage,1964), Meshes of the Afternoon (Maya Deren, 1943), Immer Zu (Janie Geiser, 1997), Phantom Canyon (Stacey Steers, 2006)- Bicycle Thieves (Vittorio de Sica, 1948)- West Side Story (Robert Wise and Jerome Robbins, 1961)- Francis Ford Coppola: The Godfather 1972, Apocalypse Now 1979, The Conversation 1974 Key Terms/ ConceptsReferent systems: personal experience, baggage brought to the theatre, experiential circumstances (age,gender, race, personal and social encounters)Representation (re-presented reality) and reality - Is a chair on the screen actually a chair?Adaptation: anything repurposed, new or old into another or the same medium - Cultural capital—value associated with certain objects, reason people say that opera is high art, we understand “low” culture as comparison to “high” culture- Palimpsest—going into a movie after reading the book and seeing the film though that lens, source texts invariably impact how we see the film, can be intentional or not- Transmedia—using all media to tell a slightly different story, expanding the universe of the story, refers back to single conceptGenreGenre - Subgenre: specialized genre that defines specific, limited version of genre - Genre revisionism- Hybrid: mixed forms produced by the interaction of different genres, ex. Musical horror film - Differ b/c constantly changing, different definitions and structures o Melodrama considered subgenre, do not outline sci-fi - Can market and budget films based on genres, MGM known for musicals, Universal known for horrorHorror genre - Early horror-reliance on gothic architecture, old world tropes, monsters, ex. Nosferatu- Universal horror-monster became misunderstood, traces of humanity, innocence, ex. Frankenstein - Late horror-shift to blood and gore, slasher, ex. The Exorcist - The slasher film—teenage sex, stalking, brutal deaths, “the final girl”-the one aggressive character left - Characters w/ physical, psychological, spiritual deformities- Built upon suspense, surprise, shock- Supernatural horror (spiritual), psychological (from human world), physical (slasher)Comedy genre - Distinctive characters-features, costumes, speaking- Gags and situational humor - Theatrical acting-Charlie Chaplin, Buster Keaton, Harold Lloyd- Slapstick (interactive environment), screwball (dialogue), romantic- Constructive mise-en-scene-interaction with environmentWestern genre- Tough character/ rugged individualism - Quest into western world, open and natural aesthetic- Man vs. modernity Drama genre- Defined by situation, communicate emotion-phenomenological - Rely on reversals and emotional climax, 3-act structure - Close-up reliance, music underscores genre, larger implicationsMusical genre- Expression through song and dance - Push forward or halt plot Science fiction genre- Science based situations - Speculative, categorized by adherence to rather than break from science Film cycle: clear starting and end date, not a genre, set period of time- Film noir-no specific stylistic aesthetic, termed by French critics about American films after the warSemantic: common traits, characters, and locationsSyntactic: relationships of shared placeholders, themes - Inclusive: list of what is contained in genre, ex. Monsters in horror (original way)- Exclusive: list of what is true to the genre, faithfulness Non-western genre- Hymat film in Germany Phenomenology: emotional, physical response to film Verisimilitude: appearance of truth and reality, seeming reality in filmCoding: LGBT cinema, way for early filmmakers to get around production code, code as gay Transmedia- Same idea, but new take of it across many media sources, multiple expressions of the same intellectual property, ex. Superman - Hybrid media: distinct media brought together and hybridized, ex. Avatar and Jurassic Parks use of CG- Video games and cinema o Pseudo cinema-“gamic” aesthetic o CG and “reality” Film Production and Post Production Shot angles - High (shot directed downward), low (position lower than subject), canted (not level creating unbalanced appearance)Documentary form- Shooting ratio: relationship b/w total footage shot and total footage used - Cinema verite: major shifts in documentary aesthetic and production practice, movement appeared in France during the 1950s thanks to lighter cameras and later portable sound technologies- Social actors: projecting the ideal version of themselves - Herzog and “directing”: directors more than most documentary directors, encourages movements and activities - Voice-of-god narration: documentaries take on a neutral stance through an uninvolved observer - Rhetoric and ethics: what is withheld, implied consent, sensitive material, construction of characters (reenactments and acting), situational behavior - Third cinema: 1960s Latin America, opposed commercial and auteurist cinemas with political, populist aesthetic and united films from many countries and contexts Experimental Form - Major filmmakers: o Luis Bunuel 1929, Bruce Connor 1958, Stan Brakhage 1964, Maya Deren 1943, Janie Geiser 1997, Stacey Steers 2006- German expressionism, fantastical environments, expressing emotions and ideas, anti-consumerist ideology, surrealism o Relationship to mainstream culture - Organizational and structural patternso Associative: loose relationships b/w images and sounds to create a feeing, metaphor-juxtaposition, creating meaning by placing images together, symbolism o Structural: rejection of narrative, image or soundtrack dictateso Participatory: interactive or physical exhibitions, expanded cinemao Lyricism-personal cinema, about filmmaker and personal experience communicating in an intimate way- Machinima: utilization of video game engines to create some sort of media that wasn’t intended to be Film HistoryThe Paramount Decision of 1948- Splintering of studio power-used to own studios, theatres, market- Got rid of contracts w/ directors, only contracted for one film- Opened up theatres to show any films—introduction of independent films, exploitation cinema - Use genre as a sales tool History: not the event that