View
- Term
- Definition
- Both Sides
Study
- All (82)
Shortcut Show
Next
Prev
Flip
COMM 3000: FILM APPRECIATION FINAL
Screenplay
|
blueprint for the film
|
Logline
|
Logline
|
Tagline
|
piece of marketing copy designed to go on posters to sell the film
|
Treatment
|
summary / outline of the film
|
Screenplay
|
1. original draft; beginning version by a screenwriter
2. provides action, setting & its description, time frame, dialogue and character's actions, meanings
3. usually not available to general public UNLESS published by writer or studio
|
shooting script
|
revisions used during filming
|
cutting continuity script
|
a description of the finished film
(could be published in some way)
|
intertextuality
|
"between texts"
|
intertextuality
|
occurs when a film makes a reference to some other text in whole or in part
|
self-referential references
|
when a filmmaker refers to his/her own films
|
self-referential references
|
alluding to another text or part of one (other movies or pop culture)
|
homage |
pays tribute to another text
(such as a film) in whole or in part
honors a previous film, director, filmmaker
|
parody
|
an imitation of a text intended for comic effect
|
genres |
widely recognized groups or categories of films
|
genre style
|
way subjects presented using a set of common film techniques
|
Nanook of the North
|
acknowledged as the first feature-length documentary
|
Documentary Concerns
|
presentation of a "reality"
|
Documentary Concerns
|
1. they are never completely objective
2. they always mediate between reality and the viewer
|
What do documentaries do?
|
Inform (all)
Entertain (most)
Criticize (some.. sometimes with the intention of motivating viewers to action)
Celebrate (sometimes while criticizing)
|
4 Documentary Approaches
|
Factual
Instructive
Persuasive
Propaganda
|
Factual Films
|
presents people, places or processes in straightforward ways meant to entertain and instruct without unduly influencing audiences
(Lumiere brothers, March of the Penguins)
|
Persuasive Films
|
presents a particular perspective on social issues or corporate and governmental injustices of any kind
(Supersize Me)
|
Propaganda Films
|
produced to convince the viewer of a specific political point or to influence the opinions or behavior of the viewer, often by providing subjective content that may be deliberately misleading
(Triumph of the Will) (Hitler shit)
|
Traditional Documentary Form
|
Voice of Authority narrator
Interviews
B-roll
Graphics to support and explain
|
Cinema Verite
|
"Truthful Cinema"
combines naturalistic techniques with stylized devices of editing and using the presence of the camera to provoke subjects
camera is acknowledged
(Woodstock)
|
Jean Rouch
|
Who pioneered Cinema Verite?
|
Direct Cinema
|
viewers as "witness"
subjects are asked to ignore the camera
filmmakers avoid conventional documentary techniques like narration, interviews or even lighting
|
Aesthetic, Technological, Economic, Film as social history
|
Basic approaches to studying film history
|
Aesthetic Approach
|
Seeks to evaluate individual movies and/or directors using criteria that assess their artistic significance and influence
|
Film as Social History
|
examines the complex interaction between the movies - as a social institution - and other social institutions
- factors considered include politics, religions, cultural trends and taboos
- interrogates the relationship between films and the societies that produced them
|
Technological Approach
|
examines the circumstances surrounding the development of each technological advance, as well as subsequent improvements
- focuses on the interaction of technology with aesthetics, modes of production, and economic factors
|
Economic Approach
|
examines the economic history of the individual movie, as well as the place in the economic history of the movie's studio and the historical period and country in which it is produced
- as well as the box office success of films rather than their social or aesthetic contribution
|
Louis Le Prince
|
got a patent on a 16 lens device that combined motion picture camera with a projector
- was refused a patent on a single-lens type because of interfering patents
|
Thomas Edison
|
- Over 1K patents
- bought more film patents than he invented
- interested in producing a more sophisticated simulation of movement and a commercially viable motion picture system
|
Kinetoscope
|
Edison's motion picture exhibition device
- displayed a film to a single person at a time
|
April 14th, 1894 in NY, NY
|
first kinetoscope parlor opens
- became popular but was only a fad for about a year
|
Lumiere Brothers
|
invented their own motion-picture camera
- was more portable than the Kinetograph
- first ever screening of motion pictures for a paying audience in Paris
|
Early Cinema (1894- early 1900's)
|
camera's and projectors developed
- short silent films (-10 minutes)
- may have been based on vaudeville skits
- not tied to any one place or country
|
Classic Hollywood Silent Cinema
(1910-1927)
|
-development of studio system of production
-major studios emerge and soon dominate industry
- development of most film genres
- development of continuity editing and other standard techniques
|
German Expressionism
(1920's)
|
European avant-garde movement in art, lit and architecture
- involved innovations in photography
- experimental
-influenced later Hollywood films
-----horror and film noir
|
French Avant-Garde:
Impressionism and Surrealism
(1920's-1930's)
|
challenged dominant narrative form with short dadaist and surreal films of an anticonventional, absurdist nature
- experimental in techniques
|
Impressionism
|
emphasized psychological depth and inner mental states
- focused on dreams, fantasies and mental states
|
Surrealism
|
linked to surrealistic literature and art
- eclectic in style & techniques
- often absurd stories and themes
- influenced many later films and music videos
|
Soviet Montage
(1920's)
|
-post revolutionary filmmaking
- cinema seen as ideological and pedagogical
- focused on social forces instead of psychology
- created innovations in editing, especially in juxtapositions
|
montage |
to fragment and reassemble footage so as to manipulate the viewer's perception and understanding
|
Classic Hollywood Cinema (1927-1960)
|
-Dominance of major studios continued
-Genres became more important
- color emerges with new lighting techniques
-other techniques developed to compete with TV
- appeals to mass audiences
|
Italian Neorealism
(1942-1955)
|
-reaction against escapist films
- focused on everyday, real-life people and problems with downbeat endings
- location shooting important
- less structured, more improvisational
-used ordinary people or non-famous actors
|
French New Wave
(1959-1970)
|
-idea of the auteur
- innovative in structure and technique (jump cuts)
- intertextual
-location shooting with handheld cameras
|
New Hollywood
(1965-1982)
|
-Breakdown of production code
- new generation of filmmakers influenced by Neorealism, New Wave, Japanese Cinema
- Made more personal and complex, self-conscious films and realistic films
- relevant topics, themes and issues
|
Todd Berliner
|
5 principle's that defined a 1970's film
|
Age of the Blockbuster
(1975-present)
|
- began with Jaws
-corporations outside the entertainment industry saw the value of buying up studios after film started becoming a thing again
|
Asian Cinema
(1950's- present)
|
-similar to Classic Hollywood
- usually long and melodramatic
numerous songs performed by cast (Bollywood)
- use of saturated color
- influential on European and US Films
----revived musicals
|
Japanese and Honk Kong Cinema
|
-often characterized by fast-paced editing
-may have blue-collar or ordinary hero
- martial arts, wire work, gun fighting, slowmo bullet
|
Hollywood & Independent films since 1980
|
- need to answer challenges of TV, video and cable
- Rise of intertextual films with many allusions to other films for media-savvy audiences
-big budget, big studio spectacles
-Remakes of older films
|
Indie Film Movement
(1985-1995)
|
-geared to specialized audiences in art house theaters
- often low budget and edgy content
- most successful indie film -
TEENAGE MUTANT NINJA TURTLES
|
Experimental Film
|
-personal, not commercial
-rejects conventional expectations of narrative cause and effect
-invites individual interpretation
|
Acollaborative Construction
|
not necessarily ensemble work under auteur direction, but genuine acollaborative control in which the artist performs each component task
|
Economic Independence
|
works made outside the mutual support and constraints of industrial economics
|
brevity
|
usually under 30 minutes
|
technical innovation
|
affinity for ongoing technological developments
|
mental imagery
|
exploration of dreams, reveries, hallucinations, hypnogogic imagery
|
Avoidance of Verbal Language
|
often only soundtracks of either music or effects, also sometimes silent
|
Avoidance of Verbal Language
|
perhaps the most prevalent tribute, most works aschew conventions of classic continuity
|
reflexivity
|
formalist aesthetic strategy that returns audience attention to the actual construction of the artwork which makes the artwork itself its own subject
|
Stream of Consciousness
|
unedited flow of experience through the mind
|
Found Footage
|
created by other filmmakers for other purposes
- creates new meanings and aesthetics
|
Hybrid Movies
|
-fusion of 2 or more film types
-- documentary, experimental, narrative
|
stage actors
|
-must project vocally and physically
-small gestures are fundamental tools for the screen actor
-memorize lines
|
Personality Actors
|
actors who take their personae from role to role
|
Chameleon actors
|
actors who seem to be different in every role
|
nonprofessional actors
|
cast to bring verisimilitude to a part
|
Lillian Gish
|
invented the art of screen acting
|
Four classes of performers during Classic Studio Era
|
supporting players, stock players, featured players, movie stars
|
Method Acting
|
-actors bring their own past experiences and emotions to the role in an attempt to become a realistic character
-encourages actors to speak, move and gesture not in a traditional stage manner but just as they would in their own lives
|
factors involved in casting:
|
- budget and expected revenues
-gender
-race
-ethnicity
-age
|
naturalistic styles
|
-regular human behavior
-look like the characters should
-think,speak and move the way people would offscreen
|
Nonnaturalistic Styles
|
-excessive, exaggerated, even overacted
-outlandish costumes, makeup and hairstyles
-found in horror, fantasy and action films
|
Improvisational Acting
|
-extemporizing or playing through a moment
-collaboration between actors
|
framing and composition
|
brings actors together or keeps them apart
|
long-take and deep-focus cinematography
|
provide the opportunity to create scenes of greater-than-usual length and broader, deeper fields of composition
|
ensemble acting: long takes
|
these takes encourage actors to work together continuously in a single shot
|
To suppress the distracting sounds made by early sound cameras, filmmakers used blimps.
|
True |