Film 2120 1st Edition Lecture 19 Outline of Last Lecture I. Art Cinema-narrationII. Art Cinema-space/timeIII. Art Cinema-sound/imageIV. Art Cinema: ReflexivityV. Art Cinema: MotivationVI. AuthorshipVII. AmbiguityVIII. Levels of meaningOutline of Current Lecture I. Mis-en-scene of art film: The actorII. Beginnings of “realism” in film acting III. Realism in developmentIV. Ingmar BergmanV. Film commonalities: Techniques VI. Movies by BergmanCurrent LectureI. Mise-en-scene of art film: The actorA. Paradoxes from critics point of view1. How do you separate what the director and editor do from the acting?- Editor can cover up a bad actor but not in the long take - Director can guide a bad actor2. The actor presents signs of a character through body gestures 3. You can only describe what you see and hear, not the actors inner life 4. What does a believable performance look like? B. From a filmmakers point of view 1. The auteur as creator, everyone else helps him 2. The idea is created through montage not acting 3. The type matters as it represents a character4. There’s still type casts todayC. From a spectators point of view These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.1. Sometimes we don’t know where the actor leaves off and the characters begin2. We tend to reward actors who make it obvious, we reward harder rolesD. From actors point of view 1. Should one experience the emotion and share a mindset with the character? - If actor is to experience the characters inner life2. Outside-in: what the person is like from the outside and then look at theiremotions and feelings 3. Inside-out: what are the emotions are like and then look at the person from the outsideII. Beginnings of “realism” in film acting A. Only in the 19th century was realism praised B. Example: Lillian Gish in way down east(1920)III. Realism in developmentA. Constantine Stanislavsky and the Moscow Art Theatre 1. Constantine had a worldwide influence in acting B. The Magic if: what would I do if I were to find myself in the circumstances of the play 1. Character objective C. The American Method1. The circumstances of the scene indicate that the character must behave in a particular way2. What would motivate the actor to behave in that particular way? So you think of a time where you feel that emotion- Emotional recall 3. Do whatever works for the actor4. The style needs to fit the material 5. Example: Nicole Kidman in Rabbit Hole has a simple, understated, and naturalistic performance but Kidman in Moulin Rouge has a over the top performance IV. Ingmar BergmanA. Master director of actors and ultimate auteurB. Background: 1. Prolific theater and film director and writer 2. Partnership with cinematographer Sven Nykvist3. Exploits the international genre of art cinema through acting and mise-en-scene4. Film from entertainment to art5. Themes in Bergman films: - Death - Joys and perils of love and marriage - Dreams/nightmares- Guilt- Question of religion and purpose of life V. Film commonalities: Techniques A. Close ups-allow the camera to get into heads of the actors B. Long takes to allow actors time to experience the moment C. Acting ensemble-same people over and over again D. Artistic use of light VI. Movies by BergmanA. Smiles of a Summer night(1955)1. Broke international film2. Dark comedy 3. Allowed him to have creative control afterword B. The seventh seal(1957)1. Top 10 films of all time 2. About religion, death but has hope C. Persona(1966)1. Said to be Bergmans greatest film2. Question identity and purpose of art3. Inspiration from Bergman nearly dying 4. By Hollywood standard had outdated equipment 5. Actor often creates the images through monologue 6. Reflexive about