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-German film theorist
-Film as Art
-believes that what separates each art from the other arts is both what makes it special but also its limitations (2d, black and white, silent)
-these limitations are challenges
-limitations define art
-motion is one of the definitive qualities of film |
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-Rise in 1950s
-characters lack defined goals & desires
-psychologically complex, ambiguous characters
-episodic, elliptical structure
-reaction/reflection
-realism: "real" locations, "real" people
-authorial expressivity (the director's style) this is where the directors start pushing camera movement, angle, editing in a way that evokes their artistic vision more than narrative or artistic paradigms (Third Man, wild canted angles, push of stylistic excess, use real locations but balances that with expressivity through camera angles & lighting) |
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-Head of the PCA
-worked with filmmakers to abide by the code
-implemented the restrictions for code |
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-1927
-required distributors & theaters to show a % of British films (% rose to 20% by 1937)
-led to cheap, short films made to meet quota |
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| Classical Hollywood Style |
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-characters=psychologically-defined, goal-oriented
-characters=clear-cut traits & objectives
-clear links structure narratives
-action
-generically appropriate
-"invisible" style |
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-JR Bray & Earl Hurd, producers
-streamlined production process (labor-saving process)
-produce background on paper, animate celluloid
-took a while to catch on (animators prefer paper)
-look separate from background, which was detailed, shaded, stationary) |
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-minor studio (UA, Universal)
-It Happened One Night
-did not own theaters so it could not milk this film (borrowed stars & had to split $ with distributors) |
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-Along with the long take, felt less manipulative than a montage (where the artist is pointing you where to look)
-director is still directing your attention through the staging
-moved beyond the overt manipulation of montage of camera angles
-offered a liberation from manipulative tactics of modernism and silent cinema aesthetics |
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-German actress and singer
-star of blue angel
-cast against opposition from the studio that she wasn't a big enough star |
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-goal: transform physical world into a projection of the inner self
-the exterior lighting, sets, make-up reflects the interior state of mind
-German film movement 1910s-1920s |
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-mixture of lyricism and realism
-a movement or a tendency
-usually took the side of the working class |
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-director of The Big Sleep
-exceptional clauses in the studio system
-worked in multiple genres: war films, screwball comedy, gangster
-independent production company (deal w Warner Bros. for financing & distributing)
-& multiple studios, short term contracts w different studios, often overlapping contracts, gave him much more leeway with stories and writers available, allow to escalate his demands & salary w increased success |
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-most recent hire
-artist who draws the key moves of the character or the dramatic, important elements of a scene & someone would come in and do the labor in between the frames
-paint & finish |
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-newspaper strip comics
-surreal, dreamlike logic
-Little Nemo (1911) |
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-Japanese era which extended from 1868-1912, first half of the Empire of Japan
-fall of Japanese feudal system
-helped end culture censorship, worked towards Westernization
-beginning of Japan modernization & Westernization |
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-an umbrella term that includes all these terms: Impressionism, Cubism, Expressionism, Surrealism, Soviet Constructivism
-categorized shared traits underlying a number of artistic movements dating from ~1850s~1930s
-signified a move from figurative or illusionistic representation to more abstract or non-representational
-a rejection of traditions of Romanticism (emphasis on individual's imaginative power & subjective perspective) and Naturalism (downplay embellishment, focus on a true-to-life representation, not idealistic)
-move towards a self-conscious questioning of form and self-conscious manifestation of the process of creation and representation
-questioned the rational behind attempts to represent the world in 'realistic' terms
-sought to reveal the falseness behind such attempts and expose the constructed-ness of artworks
-criticize dominant artistic theories
-essentialist purity of the medium: distinctive/exclusive properties of the medium/form |
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-minimal or no use of characters
-emphasis on pure film style over narrative factors (characters, scenes, etc)
-non-narrative: style structures connections
-self-reflexive
-purity of medium
-foreground style |
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-1870-1890s: studies in animal & human locomotion
-"father in modern cinema," took 12 pictures of a horse, when shown in progression together looked like it was moving! first animation! |
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-1935 MOMA established a film library (considered controversial), patrons didn't consider films, let alone animation, real art
-exhibit showed how animation film was related to many other art forms
-put up Disney production artwork in museums & no one had seen that kind of art before
-succeeded in trying to preserve film & enter it into the museum |
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-French critic who coined the term 'film noir'
-essential question is no longer "who-done-it?" but how does this protagonist act?
-interest is focused on the characters |
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-studio control of talent
-duration: 2,5,7 years (no standard contract)
-six-month renewal options
-option to renew=studio's, not players
-extensions: missed time added onto duration of contract
-loan outs |
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-gendai-geki (films of contemporary life, naturalist domestic drama) is Ozu's primary genre
-clarity is very important
-fast-paced
-Themes: class, family, tradition, modernization
-film & modernity- modern times, film itself is linked to changing times
-film linked to changing values (ie sense of masculinity boys must reconcile w)
-nostalgia as response to modernization
-class system: modern times & dislocation, alienation
-family & tradition: changing values, modern pressures
-his style of storytelling relies on limitations instead of showing everything
-ozu shot: camera 3 feet from the floor is the essence of the Ozu film, symbolized the seated, passive watching position
-films about character, uninterested in reform, interested in teh social unease within his country and how it affected his characters
-showed conditions in so faithful a manner that they indicted themselves
-quietly celebrating a character-a personal rather than a national attribute-who could remain brace in the face of family pressure, who could continue to hope in the teeth of an increasingly restrictive social order, and who could remain simple, naive, strong enough to continue to have faith in himself |
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-1948
-Supreme Court decided that the existing distribution scheme was in violation of antitrust laws, which prohibit certain exclusive dealing arrangements
-broke up vertical integration
-As a result, most studios got rid of their exhibition wings (theater divisions), leading to independent movie theaters (theaters more open to competition), a rise in art cinema and foreign film imports
-forbids block-booking (films sold on a film-by-film basis) |
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-1925
-Paramount & MGM invests in UFA
-in exchange: increased distribution of Paramount & MGM films in Germany
-bypass film quota laws |
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-Emerged 1934, following riots & march on Paris
-An alliance of left-wing movements, influencing the French Communist Party, during the interwar period
-the highest expression of the ideology of a whole period of crisis in the working class movement
-aim was the cooperation among all social class (borgeoisie, proletariat, peasants, and intellectuals) and its rallying cries were for "bread, liberty and peace"
-romantic ideals of the popular front appear in much French cinema of this period
-directors were more interested in "characters and setting that were firmly tied to reality"
-films filled w love and affection about 'little known, neglected sections of society', 'detailed loving portraits of the world of the workers and the industrial suburbs'
-world of the workers and proletariat=poetic realism |
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| Production Code Administration |
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-Established in 1934 by the MPPDA
-Required all filmmakers to submit their film for approval before release
-Code developed by Will Hays 1930 as a way of industry self-censorship to prevent religious or government involvement |
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| Sound Contrast/Counterpoint |
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-from 1928 Manifesto on sound by Eisenstein and Pudovkin (Sound and Image)
-sound as a double edged sword
-it will destroy the art of montage
-only the use of sound as counterpoint to visual montage offers new possibilities of developing and perfecting montage |
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-disc recorder & camera with same motor
-vitaphone system
-problems: discs broke, synchronization problems |
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-issue of synchronization, reproducibility, amplification
-by late 1920s all companies moved, virtually en masse, to convert to sound
-by autumn of 1930, Hollywood produced only talkies
-3 distinct phases involved: invention, innovation, diffusion
-Lee de Forest's Phonofilm programs of 1923 (AT&T secured the rights to De Forest's Audion tube to construct amplification repeaters for long-distance telephone transmission)
-Warner Bros. Vitaphone shorts 1926
-Warner Bros. Don Juan 1926=synchronized soundtrack
-Fox Sunrise & Seventh Heaven= synchronized soundtracks
-Jazz Singer synchronized music with some talking
-Warner Bros. was the company to innovate sound motion pictures |
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-German Studios
-principle film studio in the early 1920's
-1917 meeting w Germany's Ministry of War to improve image of war and cooked idea to a) use film as propaganda for war and b) improve Wilhelm 2nd's image (as well as Weimar Germany's image)
-UFA formed by banks & government
-1921- government turns over UFA fully to banks
-vertically integrated
-by mid-1920s in debt (over budget on Metropolis)
-"Parufamet" agreement in 1925
-early 1930s became production outlet for Nazis |
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-owns the production, distribution and exhibition elements
-as the American film industry grew, a series of mergers followed between distributors, exhibition and production companies creating the Hollywood Studio System (an oligopoly: a concentration of vertically integrated monopolies)
-Paramount, MGM, Warner Bros, Twentieth Century Fox, RKO all become vertically integrated 1920s-1930s and constitute the studio system oligopoly |
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Term
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Definition
-owns the production, distribution and exhibition elements
-as the American film industry grew, a series of mergers followed between distributors, exhibition and production companies creating the Hollywood Studio System (an oligopoly: a concentration of vertically integrated monopolies)
-Paramount, MGM, Warner Bros, Twentieth Century Fox, RKO all become vertically integrated 1920s-1930s and constitute the studio system oligopoly |
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-1919-1933
-1918-protests/revolts against monarchy
-precarious political position
-liberal policies: business and culture (loosening of censorship codes)
-1918-Armistice
-1919- Versailles Treaty limits size of German army, reparation payments
-precarious political position
-Liberal policies: business and culture (loosening of censorship codes) |
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