Introduction to ComS 142

Transcription

1 Introduction to ComS 142

2 Mise-en-scene The elements of filmmaking that are akin to staging a play settings subjects being filmed composition arrangement of settings, lighting, and subjects Designer, Production Designer: Person responsible for the appearance of what is photographed Cinematography

3 Director or Mise en Scene in Europe Setting location sound stage Loose Framing Tight Framing Costume Revealing Character Versatile Acting Method Acting

4 Process and Performance Effective Script and Good Acting Robert Altman: Once I Get a film cast 85% of my the creative work is finished, and the actors really kind of take over...i have to be there because they would all be fighting with each other if I weren t...

5 Pacing Length of individual shots Sequences How quickly each scenario unfolds revealing more about the story Remember a general account of a film s speed can be subjective.

6 Editing Terms cut A visual transition created in editing in which one shot is instantaneously replaced on screen by another. continuity editing Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer. cross cutting Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously. dissolve A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. editing The work of selecting and joining together shots to create a finished film. errors of continuity Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots. establishing shot

7 fade A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place. final cut The finished edit of a film, approved by the director and the producer. This is what the audience sees. iris Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films. jump cut A cut that creates a lack of continuity by leaving out parts of the action. matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action. montage Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.

8 rough cut The editor's first pass at assembling the shots into a film, before tightening and polishing occurs. sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing. shot reverse shot cutting Usually used for conversation scenes, this technique alternates between over-theshoulder shots showing each character speaking. wipe Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in

9 Cinema of Outsiders Emanuel levy Attempts to define Independent Cinema Places our Contemporary Understanding of Independent Film in Historic Context

10 It s a film made outside of the traditional Hollywood studio system, often with unconventional financing, and it s made because it expresses the director s personal vision rather than someone s notion of box office success... --Roger Ebert, Film Critic

11 2 Different conceptions of indie film How they are Financed Their Spirit of Vision

12 Media Curator Bill Horrigan Distinguishes two other ideas of Indies Those that are acceptable at Sundance Those that are virtually unshowable: Maya Deren Jonas Mekas Stan Brakhage Kenneth Anger Andy Warhol

13 Sex Lies and Videotape Steven soderbergh 1989 Discovered at Sundance and made the term Independent more widely known--possibly into a marketing tool

14 What indie films aren t: Not Avant Garde Experimental Underground With few exceptions they aren t edgy serious challenges to dominant culture

15 What Indie Films Are A Type of Film Marketed to the Public as Such: Alternative, Different, Thoughtful, etc. Made for less than most Hollywood Films (but not always) At best: visionary,personal, and specialized.

16 5 Codes to Deconstruct Indies Cultural Artistic Cinematic (Inter-textual) Either they are similar to other films or they aren t Narrative (The manner in which stories are told or the type of stories that are told.)

17 Umberto Eco Works are not created by their authors, but by other works. They speak to each other independent of the authors intention. Films create a text Communicate Ideology

18 Harold Bloom on Literature A Quasi Oedipal struggle between writers and their precursors.

19 Criteria for levy s selection of indies According to Historical Eras Filmmakers with durability and track records Acclaimed by Critics for Artistic Merits Curatorial Decisions not based on statistics

20 Quentin tarantino One of the Most Widely Known Reservoir Dogs 1992 Sundance Hot Ticket Born Entertainer Clever Script Scorsese Inspired Harvey Keitel (1.5 mil)

21 Successful? No Awards at Sundance, but most talked about Mirimax Released it, Played for a few weeks, disappointing box office returns Too Violent 8 million for 1994 Pulp Fiction which won Palm d Or at Cannes

22 Pulp Fiction One of the most commercially successful Indies Nominated for 7 Oscars Made 100 million at the Box Office

23 Forces Behind Indie Cinema The Need for Self Expression Hollywood s move away from serious, mid range films mega blockbusters increased the need for other types of films (MEET JOE BLACK: 90 MIL) success of Bonnie and Clyde, 1967 and Easy Rider, 1969 brought about movie makers of the 70 s like: Scorsese, Altman, Allen, Coppola Increased financing opportunities Blood Simple, Coen Brothers, 750,000 production made 5 million

24 Greater demand for visual media (home video) 1987 Video sales outnumbered box office sales (1, 040, 000 to 1, 030, 000) Increased overall interest in films Supportive audiences (Boomers) Decline of Foreign Language Films

25 SundanceDevelopment of Oraganizational networks IFP, SUNDANCE, AVF Commercial Success

26 Supportive Audiences College Students Singles/Childless Couples Discriminating Viewers Informed Viewers Frequent Moviegoers

27 Indie Movie Goers have more sophisticated taste, but make up only 5 to 10% of the market. The prove profitable regardless, because they have such an enthusiastic, sophisticated taste. Maturation of Boomers has had a huge effect here.

28 How do People choose Movies to go to? About 1/3 cite reviews of those 20% Newspaper and 18 % TV 20% TV Commercials 20% Word of Mouth 10% Famous Actor 5% Trailer

29 Since 1970 s Teens have been the most reliable movie goers They can make or break movies during the opening weekend In 1976 before the teen epidemic: The two leading movies were: One Flew Over the Cuckoo s Nest and All the President s Men In 1977 the highest grossing movie was Star Wars and in 1986 Top Gun Hollywood targeting kids between the ages In 1990 s teen moviegoers were outnumbered by middle aged boomers between the ages 40-49

30 Decline of the Foreign Language Film Which came first? Does it matter? Indies have captured the art house audience in the 90 s Foreign made up for 2% of movie sales People don t want to read subtitles?

31 1997 Susan Sontag The end of cinephelia of the 60 s and 70 s Inflated expectations for profit make it impossible for true innovation?

32 Sundance features submitted nearly 1,000 Too much expansion? Teaching hollywood a lesson? 1/2 dramatic entries made for less than 100,000!

33 Financial Success 1986 Platoon by Oliver Stone made over 100 million Sex, Lies, and Videotape cost 1 million and made over 25 million

34 OUTSIDERS Ethnic Minorities Gays and Lesbians Women (not in terms of populace) Anyone who doesn t belong in mainstream

35 Movement Shared Creative Process Unity of Spirit or Vision with its own structure, values, and goals Rebel against restrictions and rigidity of mainstream cinema

36 Hollywood Conventions Dictate Concept Forms and Materials Regulate Relations between Filmmakers and Audience producing predictable emotional effects.

37 Artistic Innovation Existing Conventions Violated Plays against audiences expectations Most American Filmmakers go out of their way to fulfill those expectations Revolutionary Innovations Disrupt routine patterns and involve deliberate changes in film language

38 Post Modernism Blurs the line between industrial practice and cultural forms: High Brow and Low Brow, Mass production vs. Singular production Breakdown in cultural meta-narratives: (The idea of the way things should be) Called into question--a critical eye

39 Aspects of Post Modernism Diversity Referential Self-Reflexive Collage Like

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