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FILM 216 (1)

Film 216 Lecture Notes 2012

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Film and Media
FILM 216
Peter Baxter

Peter Baxter 1 Film 216: Historical Inquiry September 11, 2012 Course Objectives Understand what is meant by the term “historical context” and relate it to film form and meaning  Research historical sources using online and print resources  Evaluate the validity of historical sources  Covey the results of historical research in a substantial essay Reading Assimilation Test  Four Tuesday classes  Based on films and assigned readings  Individual and team grades Research Essay  2000 words  Submitted in team anthologies For next Tuesday  Bring research on Chaplin to class  Research Notes  Based on films screened in class  Written on a worksheets  Submitted at Tuesdays classes  Grades and returned  Moodle downloads  Research note worksheet  Moodle research note  Work cited format For Tuesday Research notes on … A. Quotation. Quote a passage from a source bearing on the film. Provide a full reference  Look into lighting and camera use  A source that refers to why the film is the way it is B. Relevance. On the basis of the quotes passage, discuss the film in historical terms  Discuss what it has to do with the technology, or the quality of the film, how can Chaplin work with his associates Peter Baxter 2 C. Credibility of source. What ensures that this information is accurate and believable  Reflect on why these films are the way they are How can we explain why a particular film is made in a particular way, telling its particular story, t a particular time, in a particular place? Kid Auto Races at Venice California- February 7 , 1914 (Los Angeles)  Why is this film important historically?  Makes reference to film in the content of the film  Interesting that the bystanders themselves, are interested in the fact that a film in being made, in the film  Focus on the character rather than the event  The first time that Charlie Chaplin was on screen anywhere in the world  He doesn’t have a name or a character, but it is the start of the development of his character He is the first person to become iconic and know for the movies he appears in. He is the first major star of international importance.  From this video he finds himself on a skyrocketing career path in America  He than begins to go behind the camera, and becomes a director, writer, actor  At 25 years old, he was one of the most famous and powerful people in Hollywood  He eventually began to make, well thought out meaning full films  Pop culture magazines began  This film was made in the middle of swarms of immigration  Charlie Chaplin being on of these immigrants  There was an economic boom in LA at this time; this is transforming the city and the way of life.  This movie is celebrating the new dawning age of the motorcar Key Stone Film Company  Mack Sennett Studio, 1916  In some ways defines what early Hollywood cinema is all about Chaplin joins Key Stone Film Company The New Janitor, September 1914 September 13, 2012 Kid Auto Races at Venice  The camera used for this film, was obviously old, heavy, and almost impossible to move  (American collector and deal for old cameras) Peter Baxter 3  Cameras were operated by hand, and cranking the handle as the speed the director request The New Janitor, September 1914  By this time, studios are building set, and bringing out and paying actors Areas of historical context Technology  Type of camera  Lighting  Film stock  Set construction  Technology is one part of historical context Economics Star salaries- companies were beginning to understand that it was the star that they need to market, and that was going to sell  Studio production  Strategy  Capital investment- this is a business and made to make money  How do you divide labour? Producers were using ordinary people to do all of these jobs Ideology  Characters  Conflict and resolution  Values Charlie Chaplin film Companies  Key stone film company Essanay Film Mfg. Company  Took on Charlie and increased his salary from $150 a week to $1250  Mutual Film Company  Offered him his only studio  At this point he is making $10, 000/week  This salary comes with lots of responsibilities  This is the film company where Chaplin begins to make his very memorable films The Pawnshop, Mutual Film Corporation, October 2, 1916  Average Budget is $100 000  Relatively high budget productions  High economic films Think about the story being told, the events taking place, the relationship between the characters, begin to think of the role played by ideology, and the concept of the shared beliefs of society, in a particular time and place.  Chaplin doesn’t play the tram like character that he has in most of his films Peter Baxter 4 East Street, Mutual Film Corporation, May 15, 1916  Interesting set, a street set, and an urban setting Hollywood  Celebrities are born and are centered in Hollywood  Pickford and Fairbanks, join together to make United Artist  Chaplin leaves to make his own film productions company The Immigrant, Mutual Film Corporation, June 17 1917 September 27, 2012  Soviet communist government needed to control the streets and control the way people think, and what they want  They used Agitational propaganda – (agitprop)  Consisted of posters, banners, street car advertisements, Agittrains (freight trains that were sent across the country that had writers, films peoples, they would go and advertise across the country about the revolution)  Agittheater Vsevelod Meyerhold (1874-1940)  Founded a group called the Proletkult Theatre (working class culture)  This theater because a training ground for young artist Sergei MIkhailovich Eisenstein (1898-1948)  He began to the class of the colonizers  Studied engineering and history  He writes about the way dialogue is used  Montage of attractions  “Montage has been stipulated by Soviet films by the nerve of cinema…. Montage is an idea that arises from the collision of two shots that are independent fro one another”  “For us. Cinema is the most important art” 1925 Making a myth  Peter Baxter 5 October 4, 2012 Battleship Potemkin Film  Realism and Aesthetics, combinations of elements and the will to be something not just realistic but also well formed and well shaped  The importance of montage-- Montage begins to be theorized  From emotions to intellect, films that begin to make you feel and than think about what you are seeing on screen  Types instead of characters, images of a revolutionary sailor, or the vial captain of the ship The Soviet Union  Rising out of the ashes  The revolution has happened already, but it is still happening, people are still trying to changes the minds of the people  Civil War  Constructing a new order  Need to “enlist” citizens  Arts as propaganda Sergei Eisenstein  Saw futures for himself in the Soviet Union and as a filmmaker  He brings his own interest on a larger scale  18 years old when the revolution happened  Marxist revolutionary  Goal-driven filmmaking  Trying to find a new direction that will impress his own work and advance his career  He is an artistic experimenter—he is not content to make popular films, but to create something that people have not seen before  “Battleship Potemkin is like some grotesque record of a gargantuan news photographer with a genius for timing and composition…. Architectonic, self- conscious, as all art must be” – Evelyn Gerstein, Review in the New Republic  He understood geometrics and shapes Metropolis Film  Universum Film Aktiengesellschaft  6000 employers by 1925, 1800 cinema seats (world) ca. 100 feature films  Parumet Agreement (1925)… an agreement with paramount to show their films in North America, and most of their films were never shown  Ufa went out of business because America never showed their films, but they showed American films Peter Baxter 6  Founded November 1917  Imperial government  Deustuche Bank  I.G. Farben  Krupp  Builds most modern studios in Europe  Absorbs theatre circuits—people can start watching these films Weimar Germany  Period of violence  Like the Soviet Union but different circumstances  When WWI begins, Germany is an empire and has a emperor  November 9 1918: Republic declared  November 11 1918: Armistice  January 1919: Spartacist uprising government moves to Weimar  June 1919: Treat Versailles – unconditional surrenders, and
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