87 Cards in this Set
| Front | Back |
|---|---|
|
Hollywood renaissance 1964- 76
|
counter culture films
Critiquing "myths"
American auteur films
Personal films
|
|
common characteristics of films in hollywood renaissance era
|
off beat anti hero
america as a "sterile society"
oppressive, blind commitment to traditional value systems/ "myths"
explorations of sensual conflicts and or psychological problems
mixing of comic and the serious
self conscious use of cinematic technique
|
|
Self- conscious use of cinematic technique in renaissance era
|
slow motion
quick cutting
stylized memory and dream sequences
|
|
Reasons for sex and violence
|
competition with TV
influence of European cinema
Underground cinema
Fragmented audiences
changing cultural value system
|
|
"Myths" challenged by counter culture
|
The military, religion, police and government, education systems, sobriety, marriage, adult authority
|
|
Stanley Kubrick (counter culture)
|
"Dr. Strange Love" (1967)
|
|
Arthur Penn (counter culture)
|
"Bonnie and Clyde" (1967)
|
|
Mike Nichols (counter culture)
|
"The Graduate" (1969)
|
|
John Schlesinger(counter culture)
|
"The Midnight Cowboy" (1969)
|
|
Robert Altman (counter culture)
|
"M*A*S*H" (1970)
|
|
Dennis Hopper (counter culture)
|
"Easy Rider" (1969)
|
|
Milos Ferman (counter culture)
|
"One Flew Over the Cuckoo's Nest" (1975)
|
|
Birth of the rating system
|
Reason counter culture movie's content was permitted (death of production code)
|
|
1968
|
the MPAA does away with the PCA and institutes the CARA- G M R X
|
|
American Auteur's
|
Directors who made personal films with studios or independently
|
|
Stanley Kubrick(american auteur)
|
"A Clockwork Orange" (1971)
|
|
Robert Altman (american auteur)
|
"Nashville" (1975)
|
|
John Cassavetes(american auteur)
|
"A Woman under the influence" (1974)
"The Killing of a Chinese Bookie" (1976)
|
|
Francis Ford Coppola(american auteur)
|
"The Godfather" (1972)
"The Godfather II" (1974)
"The Conversation" (1974)
"Apocalypse Now" (1979)
|
|
Martin Scorsese(american auteur)
|
"Mean Streets" (1973)
"Taxi Driver" (1976)
"Raging Bull" (1980)
|
|
Woody Allen (american auteur)
|
"Annie Hall" (1977)
"Manhattan" (1979)
|
|
Me decade 1970's
|
health craze
self help gurus and therapy
soaring divorce rates
"social action to self centeredness"
|
|
Films during 1975-1977
|
Film-as-business
Movies as video games
Blockbuster mentality
|
|
Blockbuster mentality
|
Massive simultaneous distribution,
|
|
Patterns of release
|
Platform release
Wide release
|
|
The Agent as Star
|
emphasis on making deals rather than making movies. films became more expensive to make.
|
|
New technology in movies
|
Dolby sound
the steadicam
computer editing
bigger stunts and explosions
|
|
Average costs of making a movie
|
1981- $11 million
2012- $174 million
|
|
Celebrating American Myths
|
1980s were conservative Regan years.
films were a-political
|
|
Die hard
|
Example of a movie with gender roles
|
|
"Jaws" (1975)
|
First modern "blockbuster"
released in 465 theaters then 675.
|
|
"Star Wars" (1977)
|
The ultimate mythic wester, only set in space
|
|
"Heaven's Gate" (1980)
|
42 million
"personal film" auteur Michael Cimino
Earned 3 million in the US
|
|
"Rocky" (1976)
|
Myth film, rags to riches
|
|
"Star Wars" (1977)
|
Myth film, good vs evil on the frontier
|
|
"First Blood" (1982)
|
Myth Films, refighting Vietnam, and winning this time.
|
|
"Top Gun" (1986)
"Die Hard" (1988)
|
Myth film, masculine superiority
|
|
"Field of Dreams" (1989)
|
Myth film, recapturing the "innocence of youth"
|
|
"Forrest Gump" (1994)
|
Myth film, innocence (even ignorance) is bliss, and can take you places
|
|
Myth films
|
A vast majority of 80's studio films were...
|
|
Working against the grain
|
Making films that were deliberately anti-myth and/or anti-reagan era politics
Often worked outside studio system
They were fighting or simply ignoring hollywood style deal and filmmaking
|
|
David Lynch
|
Against the grain, "Eraserhead" (1977)
"Blue Velvet" (1986)
|
|
Jim Jarmusch
|
"Stranger Than Paradise" (1984)
"Down By Law" (1986)
|
|
Terry Gilliam
|
"Brazil" (1985)
"Adventures of Baron Munchausen" (1988)
|
|
Ridley Scott
|
"Blade Runner" (1982)
"Thelma and Louis" (1991)
Anti-myth, later mainstream
|
|
Joel and Ethan Coen
|
"Blood Simple" (1982)
"Raising Arizona" (1987)
"Barton Fink" (1984)
Anti-myth, later mainstream
|
|
Spike Lee
|
"She's Gotta Have It" (1986)
"Do the Right Thing" (1989)
"Malcom X" (1992)
Anti-myth, later mainstream
|
|
Tim Burton
|
"PeeWee's Big Adventure" (1985)
"Beetlejuice" (1988)
"Ed Wood" (1994)
Anti-myth, later mainstream
|
|
Gus Van Sant
|
"Mala Noche" (1985)
"Drugstore Cowboy" (1981)
Anti-myth, later mainstream
|
|
Stanley Kubrick
|
"Full Metal Jacket" (1987)
american auteur, anti-myth film
|
|
Martin Scorsese
|
"Goodfellas" (1990)
American auteur, ant-myth
|
|
Woody Allen
|
Extremely prolific
34 films from 1980-2013
|
|
Who were exceptions to the blockbuster rule?
|
Stanley Kubrick, Martin Scorsese, and Woody Allen
|
|
2 extremes that defined american cinema in the 1990's & 2000's
|
Extreme commercialization
Extreme fragmentation
|
|
why did studios become apart of large multi-national corporations?
|
the fragmentation of the studio system in 1950's
|
|
Movie Package
|
Independent producer goes to company to get funding
Need "package" already assembled
a script
a name or star with it
|
|
Ultimate Packaging
|
1. Pre-sold franchise
2. A subsidiary/merchandising tie ins
3. Efficiency of scale
|
|
Pre-sold franchise
|
a property that has a built in audience;
ex.) book series (Harry Potter), video games, -already has huge fans
|
|
Subsidiary/ Merchandising tie-ins
|
Everything from dvd's to toys to theme park rides, clothes,
|
|
Efficiency of scale
|
Massive media-saturated marketing campaigns designed to support
wide release
coinciding with merchandizing tie ins
followed by subsequent distribution windows
|
|
Resistance of movie packaging
|
"indy cinema" movement in late 1980's
|
|
What started independent ideas?
|
Steven soderburgh's "sex, lies, and videotapes" (1989)
|
|
"I can do that" inspired by these movies
|
"Stranger than paradise"
"She's gotta have it"
success of "sex, lies, and videotapes"
|
|
Who was miramax's first big indy pick up?
|
Quentin Tarantino, Kevin Smith, Affleck and Damon "Goodwill Hunting" (1997) Gus Van Sant
|
|
"Slacker" (1991)
"Dazed and Confused" (1993)
"Waking Life" (2001)
|
Richard Linklater (Indy film)
|
|
"Reservoir Dogs" (1992)
"Pulp Fiction" (1994)
"Jackie Brown" (1997)
|
Quentin Tarantino (Indy films)
|
|
What movie directors made it big on indy films, but then got their money back from big companies?
|
Robert Rodriguez; "El Mariachi" (1992)
Kevin Smith; "Clerks" (1994) - stuck in remake trap
|
|
Tarantino & Soderbergh
|
Tarantino would become a commodity himself the "Indy" icon & the one who started it all-- Soderbergh would balance mainstream work-- Oceans 11, 12, 13
|
|
Disney brought about Miramax in
|
1993
|
|
"By, for and about"
|
New Queer Cinema; The most independent of the indy filmmakers, they were making often experimental even avant-garde & very personal for political reasons than profit.
|
|
The most "independent" of "indy" filmmakers were making movies that has elements of;
|
experimental
avant-garde
very personal
political reasons more than profit
|
|
Films that were made to make gay films more palatable
|
"Philadelphia" (1993); Johnathan Demme
"Threesome" (1994)- misguided
"Three of Hearts" (1993)- silly even offensive
|
|
New Queer Cinema Films/Filmmakers
|
Derek Jarman- Edward II 1991
Christopher Munch- The Hours & Times 1991
Gus Van Sant- My own Private Idaho 1991
Tom Kalin- Swoon 1991
Todd Haynes- Poison 91
Greg Araki- The living End 1992
|
|
"Go Fish" was directed by
|
Rose Troche (1994)
Is more experimental & political than the traditional love story.
|
|
"The Incredibly True Adventures of 2 Girls In Love" was directed by
|
Maria Maggenti (1995)
|
|
What are the two key events to the future of cinema?
|
1. Postmoderism
2. Digital Cinema
|
|
No monoliths in postmodernism film means
|
There is no single answer, things like time, memory and perception are open for debate
|
|
What is creating via Pastiche in postmodernism films?
|
"Borrowing" bits of "answers" from different (sometimes contradictory) sources
|
|
What does it mean to question of embrace simulacrum in post modernism films?
|
Separating the image for the thing, we assume illusions are reality and vice versa; Reality tv shows
|
|
Qualities of postmodernism films
|
Non-linear/ alternative structures
Change of perspective/narrators
Intertextuality- referring to other text and movies
A playful disregard for and or tweaking of traditional film narrative devices, stylistic techniques and genres
|
|
Important post-modernism films
|
Annie Hall
Slacker
Pulp Fiction
Run, Lola, Run- Tom Tykwer 1999
Waking Life
I'm Not There- Todd Haynes 2007
|
|
Key Event #2- Digital Cinema
|
Using video, not film, in the production
digital cinema coincided with convergence
blurring the line between media production, distribution & reception technologies
|
|
By the early 2000s, a new generation of filmmakers emerged what were their qualities?
|
their work reflected both postmodernism and trended toward digital cinema/convergence
|
|
Emerged from making music videos, "Being John Malkovich" "Adaptation" "Where the Wild Things Are"
|
Spike Jonze
|
|
Emerged from music videos; "Human Nature" "Eternal Sunshine of the Spotless Mind" "Be Kind Rewind"
|
Michel Gondry
|
|
Filmmakers like Michel Condry allow the critical thinker to be ____ to see the "big picture" of film and history in general
|
Circumspect
|
|
French-american filmmaker Michel Gondry who matches a french filmmaker who did "movie magic" named….
|
Georges Melies
|
Chapter 1