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Lecture 7

Lecture 7 - Feb 27.docx

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A Maurice

Film on Film  film stock  unexposed film consisting of a flexible backing and a light-sensitive emulsion  persistence of vision  the eye’s retention of a visual imprint for approximately one-fifth to one-twentieth of a second after the object has disappeared; as a result, the continuous projection of a series of still images at a rate of 16 or more frames per second will give the illusion of movement  24 frames per second  standard rate at which film is recorded and later projected Film Studies: Methods  medium specificity  “what is cinema”; “what should it do”  formal/stylistic readings  masters and masterpieces (one model of film history)  comparative and contextual readings o genre study o authorship (also “auteur theory”) o film history as periodization  Hollywood studio system  industrial practices of the large production (and, until 1948, distribution) companies responsible for the kinds and quality of movies made in Hollywood from 1933 (vertical integration) to the 1950s; the five major studios were MGM, Fox, Paramount, RKO, and Warner Bros  national cinemas o Chungking Express in the context of Hong Kong Cinema, especially developments since 1970s o Chungking Express as compared with French New Wave of the 1960s The French “New Wave” (Nouvelle Vague)  post WWII, inspired by Italian neo-realism  new accessibility of hand-held, sync-sound 16mm film cameras (late 1950s/early 1960s)  struggle for personal expression  investigation of film form as a communication system  break with the past – stylistic innovations Breathless (A Bout de soufflé), (Jean-Luc Godard, 1959)  jump cuts, elliptical editing  location shooting – highlights the city (Paris)  hand-held camera – sense of freedom, documentary feel  playful references to Hollywood genres and movie stars
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