Term
|
Definition
ELIA KAZAN, 1957
-b/w
-blames radio/tv for negative downfall of man
-came out when TV/suburbia overshadowed film |
|
|
Term
|
Definition
VINCENTE MINNELLI, 1960
-technicolor, widescreen, musical --> grandeur of film/cinema/theater
-mixing of classes/cities/races/etc
-conventional happy cliche ending |
|
|
Term
|
Definition
DAVID LEAN, 1962
-super epic only fully experienced on theater screen
-epic grandeur with grand long shots and long takes
-widescreen |
|
|
Term
|
Definition
ALFRED HITCHCOCK, 1960
-between high and low culture
-produced by a tv crew
-changed movie-going policy: lines, can't walk in middle of screening, etc --> cinema = attraction
-death of production code
-director = cultural icon |
|
|
Term
|
Definition
KENNETH ANGER, 1963
-28 min
-motorcycles, gangs, atheism, confederacy, worship
-experimental |
|
|
Term
|
Definition
MARIE MENKEN, 1964
-purposefully silent, color, academy ratio
-11 min.
-modernity of 1960s
-super sped up camera of everyday life
-only female experimental filmmaker at time |
|
|
Term
|
Definition
ROBERT DOWNEY SR., 1969
-about race duh
-b/w, commercials in color
-extremities of human nature |
|
|
Term
|
Definition
ARTHUR PENN, 1967
-generation gap
-bittersweet ending
-what do we do now
-narrative itself is long past production codes |
|
|
Term
|
Definition
MIKE NICHOLS, 1967
-bittersweet ending
-what do we do now
-generation gap, leaving old traditions
-satirizing conditions of america |
|
|
Term
|
Definition
EMILE DE ANTONIO, 1968
-documentary cinema (direct cinema)
-part of new america cinema group
-'collage film' --> taking found archival footage to manipulate to support his argument |
|
|
Term
|
Definition
BERNARDO BERTOLUCCI, 1972
-x-rated film
-institution of MPAA rating system --> riskier content
-method acting
-transnational production/distribution crew |
|
|
Term
|
Definition
PETER BOGDANOVICH, 1971
-b/w
-throwback to recent past (1950s) + 1970s social sentiments
-generation gap; adults are clueless
-unsentimental to teenage failures
-nostalgic codes |
|
|
Term
|
Definition
FRANK MOURIS, 1973
-16mm
-collage of all sorts of images + voiceover
-narrative demands audience attention |
|
|
Term
|
Definition
GEORGE LUCAS, 1973
-coming-of-age --> angst about growing up + anticipation/expectation of becoming an adult |
|
|
Term
|
Definition
STEVEN SPIELBERG, 1975
-flurry of different applicable genres (western)
-GAMBLE --> summer blockbuster
-saturation release/marketing + pre-produced tie-in |
|
|
Term
|
Definition
CHARLES BURNETT, 1977
-b/w
-black youth/experience
-nostalgia for a different community
-low budget 'labors of love'
-writer/directors fresh from film school |
|
|
Term
|
Definition
JOHN CARPENTER, 1978
-genre conventions (music + lighting = suspense)
-slasher genre
-horrors of suburbia + horror of teenage-ruled world
-low budget 'labors of love'
-writers/directors fresh from film school |
|
|
Term
|
Definition
JIM JARMUSCH,1980
-low-budget 'labors of love'
-writer/directors fresh from film school
-postmodernist fragmentation |
|
|
Term
|
Definition
JULIE DASH, 1982
-reappropriation of race and gender
-throwback to 1930's/40's |
|
|
Term
|
Definition
MADONNA, MARY LAMBERT, 1982
-reappropriation of Marilyn Monroe
-'soundies'(jukeboxes) were closest precedents to MTV music videos |
|
|
Term
| DESPERATELY SEEKING SUSAN |
|
Definition
Susan Siedelman, 1985
-reappropriation
-post-modernity |
|
|
Term
|
Definition
JOHN TIERNAN, 1988
-blockbuster --> "new" Hollywood
-re-viewing practices
-'age of sequels'
-globalization precedent |
|
|
Term
|
Definition
BARBARA HAMMER, 1992
-unrepresented = unspeakable = nonexistence
-queer filmmakers supplementing queer moments in old historical moments
-queer or female, not both |
|
|
Term
|
Definition
GREGG ARAKI, 1993
-'another homo movie' -> refusing to show only positive images of queer people
-15 fragments, completely interrupts itself as a medium
-homage to Jean Luc Godard's mediamaking style |
|
|
Term
|
Definition
ALLISON ANDERS, 1993
-indie film of the 1990's |
|
|
Term
|
Definition
GUS VAN SANT, 2002
-ridiculously slow + long takes + long shots
-queer? indie? |
|
|
Term
|
Definition
RICHARD KELLY, 2001
-cult cinema |
|
|
Term
|
Definition
ALEJANDRO GONZALEZ INARRITU, 2006
-transnationalist allegories
-allegory of tourism --> relies on images of 'otherness' |
|
|
Term
|
Definition
QUENTIN TARANTINO, 2003
-transnationalism/mixing of different cultures into one
-cult cinema |
|
|
Term
|
Definition
JOSEPH KOSINSKI, 2010
-alternate worlds
-digital cinema/sound
-completely fantastical |
|
|
Term
|
Definition
SIDNEY LUMET, 1976
-downfalls of TV? |
|
|
Term
|
Definition
BARRY JENKINS, 2008
-mumblecore
-Jo and Micah as representational archetypes of POSTRACIAL vs. RACIAL society
-unpredictable --> doesn't follow rom-com generic conventions
-"quiet" indie film (literally)
-contemporary filmmaker as ethnographer of contemporary society |
|
|
Term
|
Definition
JASON LUZ, 2012
-5 min spinoff of "MILK" (GUS VAN SANT) about the one-dimensional Latino Lover of Harvey Milk
-animation, 'carpe diem' |
|
|
Term
|
Definition
JY-AH MIN, 2010
-remix (not remake) of MASCULIN/FEMININ (Jean Luc Godard) in contemporary settings
-relating french youth culture to now |
|
|
Term
| I CAN'T GET THAT MONSTER OUT OF MY MIND |
|
Definition
|
|
Term
|
Definition
DOUGLAS GOMERY, 1998
-production --> distribution --> exhibition
-history of hollywood (nickelodeons, studio era, postwar suburbia/tv --> grand cinema, modernism/postmodernism, technology VOD/VCR/DVR/etc)
-media conglomerates |
|
|
Term
|
Definition
LINDA WILLIAMS, 1994
-"PSYCHO" (hitchcock) changed viewing habits
-cinema as a social institution
-horror film as "highly ritualised masochism" and "submitting to a familiar master" together
-changed viewing habits = "disciplining the viewer"
-cinema became an attraction, luring people away from tv and to theaters |
|
|
Term
|
Definition
DAVID THOMSON, 2009
-theater --> leisure time
-"PSYCHO" revealed dark voyeuristic side of cinema (not achieved via tv)
-generation gap starting to form
-"PSYCHO" was basically hitchcock's own voyeurism conveyed onto film |
|
|
Term
| THE FIRST STATEMENT OF THE NEW AMERICAN CINEMA GROUP |
|
Definition
1961
-led by Lewis Allen and Jonas Mekas --> "The Group"
-big "FUCK YOU!" to HollywooD
1) cinema = personal expression
2) reject censorship/film licensing
3) "free" film industry (financial)
4) good films can still be made with low and high budgets
5) control of distribution/exhibition
6) establishment of own cooperative distribution center (emile de antonio)
7) east coast film festival
8) union costs based on size/nature of production
9) build fund pools from profits to help members finish films
*not joining together to make money, but to make films (similar to third cinema) |
|
|
Term
|
Definition
JONAS MEKAS, 1969
-2 extreme ends of each art: expression via re-enaction/narration vs. expression via abstraction
-1960's is stuck on narrative end, which is considered "normal"/dominant
-narrative cinema doesn't require audience effort
-experimental films require you to adopt a certain attitude to get the message of film, however small |
|
|
Term
| LICESE FOR LICENSE: UNDERGROUND MOVIES AND OBSCENITY IN THE SIXTIES |
|
Definition
J. HOBERMAN, 1993
-underground films in the 60s were banned from licenses and screenings on the basis of "obscene/hard core pornographic content"
-filmmakers dgaf and screened them anyway --> police shut them down always
-where's the line between experimental/personal/"art" films and porn |
|
|
Term
| RADICAL SCAVENGING: AN INTERVIEW WITH EMILE DE ANTONION |
|
Definition
BERNARD WEINER, 1971
-about 'IN THE YEAR OF THE PIG'
-'collage films'
-must expose real truth for media is biased when talking about vietnam war |
|
|
Term
|
Definition
DAVID E. JAMES, 1989/2005
-any alternative cinematic practice is a response to: alternative social group, dominant society, or hegemonic cinema
-relations between subculture and the social whole
-1950s studio era was too rigid for young artists to have self-expression
-paramount anti trust act --> fall of studio system and cinema |
|
|
Term
| THE STIGMA OF X: ADULT CINEMA AND THE INSTITUTION OF MPAA RATING SYSTEM |
|
Definition
JUSTIN WYATT, 1999
-1968: mpaa rating system introduced
-no more censorship (end of production codes)
-same stigmatization response as NC-17
-used for marketing as well
-3 types: adult drama, soft core porn, hard core porn |
|
|
Term
| OPEN YOUR GOLDEN GATES: SEXUALLY ORIENTED FILM AND VIDEO |
|
Definition
ERIC SCHAEFER/ EITHNE JOHNSON, 2010
-trying to break taboo
-pornos mixed in with experimental/alternative films
-call to attention |
|
|
Term
| THE DECADE WHEN MOVIES MATTERED |
|
Definition
DAVID THOMSON, 1993
-70s films became as scary as anything you were trying to escape from in the real world
-films began to reflect actual turmoil in american at the time
-watergate --> who the fuck can we trust
-70s movies were about fucked up lives and society and future
-tv --> enemy, cinema --> bold
-film noir/blaxpoitation |
|
|
Term
| THE GAMBLE AND THE LOST RIGHTS |
|
Definition
DAVID THOMSON, 2005
-producer must "place their bets" on a movie --> this risk is what they're celebrated at the academy awards
-the "image" of the gambling producer making sacrifices
-success or happiness (not both)
-robert towne lost rights to his script to paramount |
|
|
Term
|
Definition
PETER BISKIND, 1975
-far-fetched analytical essay about how JAWS is gendered and all about sex
-no penis, no power
-brody as the all-american good dad figure, all male characters --> throwback conventions to tradition |
|
|
Term
|
Definition
PAULINE KAEL, 1974
-business taking over the "art" that was cinema
-advertising taking over like a second wave of consumerism
-power of the director
-away from the 60s/70s experimentalism and to studio system way of what producers think will get good reception gets promoted and viewed
-producers/bosses don't support "risky" films, leading them to failure anyway
-entire industry becomes corrupted by business (similar to political turmoil of watergate/nixon) |
|
|
Term
| WHY ARE MOVIES SO BAD? OR, THE NUMBERS |
|
Definition
PAULINE KAEL, 1998
-movies are essentially just "inheriting" an audience
-movies are getting good box-office numbers but bad reception, but money is all that matters
-no point in "gambling" a "risky" movie if the same old shitty movie type will still get the bosses money
-a good script is one that will attract a star, which will attract audiences QUICKLY |
|
|
Term
| FROM ROADSHOWING TO SATURATION RELEASE: MAJORS, INDEPENDENTS, AND MARKETING/DISTRIBUTION INNOVATIONS |
|
Definition
JUSTIN WYATT, 1998
-roadshow pictures sit between tv and film
-period/era's aesthetics coincide with industrial changes
-distributors (the major studios of studio era) don't promote imported films (they dgaf)
-x-rating = porno in eyes of distributors
-adult drama, softcore/hardcore porn
-"JAWS" marketing legacy of saturation marketing |
|
|
Term
| WAYS OF THINKING ABOUT MUSIC VIDEO (AND POSTMODERNISM) |
|
Definition
PETER WOLLEN, 1986
-phenomenal launch of MTV (1981) --> postmodernism:
-1) fine-arts/avant-garde tradition
2) mass media
3) vernacular culture (sub cultures)
4) new (electronic) technologies associated with 'communications explosion' and 'information revolution' |
|
|
Term
|
Definition
THOMAS SCHATZ, 1993
-post 1975
-"blockbuster syndrome" driven by box-office revenues and MONEY
-1975 = restabilization after breaking up of studio system, characterized by:
1) shift to independent PRODUCTION studios
2) changing role of studios (to DISTRIBUTION)
3) emergence of commercial TV
4) changes in American lifestyle and patterns of media consumption
-made-for-tv movie
-YOUTH MARKET saved post-war hollywood slump
-hollywood bosses obsessed with staying safe and box-office revenues b/c they don't want another collapse (as with post-studio era)
-different genres of "JAWS"; it was a calculated/formulaic success
-MULTIPLEX
-rapid decline of art cinemas
-relationship between TV and film
1) TV advertising
2) end of 3-network (ABC, CBS, NBC) stranglehold over commercial tv
3) 1975 Sony videotape recorder
-film --> plot driven, tv --> character driven
-from GODFATHER, to JAWS, to STAR WARS --> increasingly plot driven, visceral/kinetic, fast-paced, special effects, "fantastic"
-spielberg + lucas = BLOCKBUSTER NEW HOLLYWOOD
-gambling
-post-fordism
-media diversification + tv rentals helped industry
- |
|
|
Term
| A CERTAIN AMOUNT OF PLOT: TENTPOLES, LOCOMOTIVES, BLOCKBUSTERS, MEGAPICTURES, AND THE ACTION MOVIE |
|
Definition
DAVID BORDWELL, 2006
-action films --> action > plot/story, all calculated
-marketing sales/tie-ins > narrative, adding more story = marketing tool (no point in having super complex story if only action is paid attention to)
-"WHAMMO" |
|
|
Term
| THE (SORRY) STATE OF (INDEPENDENT) THINGS |
|
Definition
GREGG ARAKI, 1991
-independent = reaction to constraints of the status quo
-representation = existence/acknowledgement
-small representation of any kind becomes PICKED AT --> "positive gay image"
-struggle to show "right" image with so little image able to be represented --> internalized marginalism
-subscribing to stereotypical representations --> dominant
-independents are only independent in name, still conventional |
|
|
Term
|
Definition
B. RUBY RICH, 1992, 2013
-"homo-pomo" (homosexual post-modernism)
-queer filmmakers:
1) pushes boundaries on form/content
2) refused to show only "positive images" of queer people
3) focused on marginalized communities within larger gay community (bi, trans, old, poc, disabled, etc)
4) played with history/supplemented queer moments in older historical moments |
|
|
Term
| TO THE REAR OF THE BACK END: THE ECONOMICS OF INDEPENDENT CINEMA |
|
Definition
JAMES SCHAMUS, 1998
-'distributing films is expensive as fuck'
-distributors essentially get the money first before the filmmaker
-theaters make money from CONCESSIONS
-indie films are a GAMBLE
- |
|
|
Term
| SEX, LIES, AND MARKETING: MIRAMAX AND THE DEVELOPMENT OF THE QUALITY INDIE BLOCKBUSTER |
|
Definition
ALISA PERREN, 2001
-many indie DISTRIBUTORS died off except MIRAMAX by 1989 (many major distributors made an "indie" division)
-miramax began with exploitation marketing
-supported imported films and local films internationally very well
-landmark indie theaters have begun to close down |
|
|
Term
| JUST ANOTHER GIRL OUTSIDE THE NEO-INDIE |
|
Definition
CHRISTINA LANE, 2005
-female filmmakers have hard time finding success for their SECOND films
-there is just NO APPARENT INTEREST IN WOMEN'S STORIES
-2 factors going against women:
1) film festivals became mainstream
2) indie studios began showing films in mainstream theaters (and not traditional art theaters, etc)
-women found most success in cable tv and digital filmmaking
-'blame the bitch' mentality begets female filmmakers (executives will attribute failure to gender) |
|
|
Term
| AUTEURS AND THE NEW HOLLYWOOD |
|
Definition
TIMOTYH CORRIGAN, 1998
-'auteur as celebrity'
-cable/home video --> curation of films like a collection
-ex. ooh ima watch all tarantino films today
-video stores solidified cinephilia in the 90s
-auterism = brand |
|
|
Term
| INDEPENDENT FEATURES: HOPES AND DREAMS |
|
Definition
CHUCK KLEINHANS, 1998
-many deferred payments in indie films
-image of indie filmmaker as one who sacrificed
-young talented indie filmmaker will often work for cheap and get shit done
-indie is only indie in relation to the dominant system (hollywood/major studios)
-filmmaking aspiration (ex. i wanna be a director!)
-"varied from the dominant hollywood PRODUCT, worked within the logic of the dominant SYSTEM"
-dominant system uses low-budget indie movies side-project for some extra cash basically
-anti-establishment |
|
|
Term
| WHAT'S CULT GOT TO DO WITH IT? IN DEFENSE OF CINEPHILE ELITISM |
|
Definition
ADRIAN MARTIN, 2008
-cult films are essentially orphan films rediscovered
-cult films thrive on not being mainstream |
|
|
Term
| CULT CINEMA: A CRITICAL SYMPOSIUM |
|
Definition
JOE BOB BRIGGS, J. HOBERMAN, DAMIEN LOVE, TIM LUCAS, DANNY PEARY, JEFFREY SCONCE, PETER STANFIELD, 2008
-series of interviews figuring out what identifies a cult film
-"the forbidden movie" (rebellion)
-created by AUDIENCE, FANBASE
-ritualistic
-democratic/anti-authoritarian
-marked by excess/controversy --> + |
|
|
Term
|
Definition
LAIKWAN PANG, 2005
-US government official found pirated copy of KILL BILL VOL. 1 in hong kong
-hollywood likes to believe they can benefit from other cinemas' ideas and stop others from pirating their stuff
-the US was born a pirate nation
-KILL BILL appropriates hong kong + japanese cinema together as "ASIAN CINEMA" |
|
|
Term
| VOLUMES OF TRANSNATIONAL VENGEANCE: FIXING RACE AND FEMINISM ON THE WAY TO KILL BILL |
|
Definition
|
|
Term
| BIZ WITHOUT BORDERS: H'W'D BANKS ON FOREIGN FORAYS... |
|
Definition
ALI JAAFAR, 2009
-US business has grown internationally
-major US studios become distributors/producers of foreign films |
|
|
Term
| BABEL AND THE GLOBAL HOLLYWOOD GAZE |
|
Definition
DEBORAH SHAW, 2011
-'tourist gaze' --> allegory of tourism relying on images of "otherness" |
|
|
Term
| DIGITAL CINEMA: A FALSE REVOLUTION |
|
Definition
JOHN BELTON, 2002
-digital cinema turnaround with STAR WARS |
|
|
Term
| THE ART OF DISTRIBUTION: VIDEO ON DEMAND |
|
Definition
LUCAS HILDERBRAND, 2010
-1970s-present: cable tv --> pay-per-view programs
-1980s-2000s: home video --> VCR/VHS/DVD
-2000s-present: VOD --> DVR (TiVo), cable satellite tv, streaming |
|
|
Term
| FROM 35MM TO DCP: A CRITICAL SYMPOSIUM ON THE CHANGING FACE OF MOTION PICTURE EXHIBITION |
|
Definition
BORWELL, CRISP, BRIGADE, FOUNDAS, GOLDSTEIN, GUEST, HINKLE, HOBERMAN, QUANDT, RODOWICK, ROSENBAUM,2012
-DCP: digital cinema package
-series of interviews |
|
|
Term
| THE IFC AND SUNDANCE: CHANNELING INDEPENDENCE |
|
Definition
ROBERT EBERWEIN, 2005
-sources for films about race and gender that can't be shown on commercial tv
-"competition/rivalry" only due to limited space on tv |
|
|
Term
| BARRY JENKINS' SAN FRANCISCO STORY |
|
Definition
MICHAEL FOX, 2008
-interview about "MEDICINE FOR MELANCHOLY" |
|
|
Term
| A CINEMA OF RECESSION: MICRO-BUDGETING, MICRO-DRAMA, AND THE 'MUMBLECORE' MOVEMENT |
|
Definition
MARIA SAN FILIPPO, 2011
-mumblecore --> generational marker
-micro-budgeted, minimalist aesthetic + DIY
-exploiting digital technolog, fit for era of recession
1) proving viability of digital distribution (over traditional ways)
2) rejuvenating US art cinema's commercial appeal without sacrificing art
3) exceptionally honest/thoughtful consideration of contemporary US sexual mores
-mumblecore is about trying to communicate (about race in MEDICINE FOR MELANCHOLY) |
|
|
Term
| A CINEMA OF RECESSION: MICRO-BUDGETING, MICRO-DRAMA, AND THE 'MUMBLECORE' MOVEMENT |
|
Definition
MARIA SAN FILIPPO, 2011
-mumblecore --> generational marker
-micro-budgeted, minimalist aesthetic + DIY
-exploiting digital technolog, fit for era of recession
1) proving viability of digital distribution (over traditional ways)
2) rejuvenating US art cinema's commercial appeal without sacrificing art
3) exceptionally honest/thoughtful consideration of contemporary US sexual mores
-mumblecore is about trying to communicate (about race in MEDICINE FOR MELANCHOLY) |
|
|
Term
| CINEPHILIA, TECHNOPHILIA, AND COLLABORATIVE REMIX ZONES |
|
Definition
DALE HUDSON, PATRICIA R. ZIMMERMANN, 2009
-collaborative remix zones --> politicize motions of cinephilia; participatory media cultures focused on THOUGHTS/PROCESSES
-cinephilia is focused on PRODUCT/MERCH
-TCM: transnational media corporations |
|
|
Term
|
Definition
| GABRIEL AND BORTZMEYER, JY-AH MIN, 2010 |
|
|
