TCF 112 1st Edition Lecture 7 Outline of Last Lecture I. Hollywood in The 30’s Cont.a. “The Musical”i. The Broadway Melodyii. Busby Berkeley1. Busby’s Poeticsiii. Astaire-Rogers Musicals1. Astaire-Rogers Poeticsiv. Swing TimeII. Storytelling Through Film Style & Film Structurea. Dramab. Story vs. Plot vs. Narrationc. Classical Three Act Structured. Brainstorming the Three ActsOutline of Current Lecture I. Biological Structure of Classical Dramatic Narrativea. Actb. Sequencei. Dawn of the DeadThese 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.c. Scened. Beatsi. The Man Who Shot Liberty ValanceII. Orson Wellesa. Before Citizen Caneb. Experiments with Narrationc. Experiments with Radio and Soundd. Thematic Motif in Welles Worki. Citizen Kanee. Welles Poeticsi. 2-part Interpretive Exerciseii. Sound Montage-3 Techniquesf. Magical Trickeryg. Welles Thematic ConcernsIII. The Production Code (A.K.A Hayes Code)a. Code Under Joseph Breenb. Code Requirementsc. Pre & Code Era Gangstersd. Legacy of Gangster and Crime Filme. Codes Social Ramificationsf. Classical Hollywood Stylei. Three Categories of CHSii. CHS: Ideological Implicationsg. Genre Studiesi. Evolution of Genreh. The Spaghetti WesternCurrent LectureBiological Structure of Classical Dramatic Narrative- Act-a major movementGenerally 3-4Peaks/turns in a climactic sceneEnds/changes on a major reversal- Sequence-series of events within an actTied together with single idea or goalSome of the best known elements in film historyTypically have a beginning, middle, and an endo Dawn of the Dead (2004)Director Zach SnyderWriter James Gunn/George A. RomeroStarring Sarah Polly, Ving Rhames, Jake WeberQuestion: How does the opening sequence quickly establish the films “logic” and narrative concerns? Who is our hero? What is the narrative arc here? What is the narrativepurpose of the credit sequence?- SceneAnywhere from 2-5 scenes per sequence Screenplay building blocksDemonstrate action through conflictDiscrete/self-contained units of dramatic action/story event- BeatsSmallest elements of dramatic structure Offer actor opportunity for dramatic choiceMay not be acted uponDialectical behaviors or choices exercised in a sceneHighlight differences between text and subtexto The Man Who Shot Liberty Valance (1962)Directed by John FordWriter James Warner BellahStarring Jimmy Stewart, John Wayne, Vera Miles, and Lee Marvino Glengarry Glen Ross (1992)Directed James FoleyOrson Welles:Known for Citizen KaneMusician, theater director, and radio performerBrings many artistic talents to cinemaFormed “The Mercury Players” in NYCOrson Welles Before Citizen Kane:- Experiments with Narration:1. Fresh approaches to old storiesEx. “Voodoo” Macbeth2. Narrative Economy Caesar (1927)Transformed lengthy Julius Caesar into 90 minute production3. Staging and Lighting as NarrationCaesar (1937)- Experiments with Radio and Sound:October 30, 1938 “The War of the Worlds” broadcastForegrounds the manipulation of sound fx as a narrative device- Thematic Motif in Welles’s Work:Citizen Kane (1941)The Lady from Shanghai (1948)Touch of Evil (1958)How is one to act ethically in a morally complex world?o Citizen Kane:William Randolph Hearst wanted film to fail Hearst killed film in box offices- Welles Poetics:o 2-Part Interpretive Exercise1. Technical Choice (describe)2. Meaningfulness (analyze)1. Iconic use of low angle shots2. Extreme deep focus3. Variable lighting scheme4. Complex mise-en-sceneo Sound Montage-3 Techniques1. Collage montageSound as layers-create a complex narrative2. Relational sound editingSound as transitionSound bridge=”lightning mix”3. Dialectical sound montageSound as new meaningImage + dissimilar sound = new ideaEx. Susan’s Opera MontageUniversal Focus + Universal Sound = Moral Connections in Sight and Sound- Magical Trickery:1. Lightening cut2. Playing with mise-en-scene3. Moving camera and long takesThe Production Code (A.K.A “Hays Code”):Set of industry guidelines regarding film content MPPDA first headed by William H. Hayes- Code Under Joseph Breen:Enforced in 1934Created a pre-code & post-code dividing line in film historyProduction Code was NOT enforced by the governmentJoseph Breen was head of the new Production Code Administration (PCA) in 1934- Code Requirements:Avoid brutalityAvoid sexual promiscuity- Pre & Code Era Gangsters:o Scarface (1932) (Pre-Code)Directed by Howard HawksStarring Paul Munio VS.o Angels with Dirty Faces (1938) (Code Era)Directed by Michael CurtizStarring James Cagney- Legacy of Gangster/Crime Film:o The Departed (2006)Directed by Martin Scorseseo The Sopranos (1999-2007)Created by David Chase- Codes Social Ramifications:Films were politically conservative and timidUsed by producers to keep writers in lineHelped ensure investment banks investments- Classical Hollywood Style:Founded on principle of “invisible” editingDominant aesthetic mode in HW for decades“Excessively obvious cinema”- Three Categories of CHS:NarrativeEditing (continuity editing)Time & Space- CHS: Ideological Implications:CHS discourages asking about dominant values- Genre Studies:Recognizable because they repeatedly reference the same symbolic code over timeFilm semantics- genres building blocks and screen elements (physical elements, characters)Film syntax- narrative structures in which the semantics are arranged (themes)- Evolution of a Genre:(Using Western as an example)Classic-Stagecoach (1939)Late-High Noon (1952), The Man Who Shot Liberty Valance (1962)Spaghetti Westerns-A Fistful of Dollars (1964), The Good, The Bad, and The Ugly (1966)- The Spaghetti Westerns:Produced by Italian studiosshot in Italy and SpainCharismatic anti-heroDemythologized western narrativesInternational casts and crewsPopular 1960’s-1970’sLow production