Class Notes (1,100,000)
CA (630,000)
Western (60,000)
1020E (100)
Lecture

Film Studies 1020E Lecture Notes - Third Cinema, Schizophrenia, Voyeurism


Department
Film Studies
Course Code
Film Studies 1020E
Professor
Peter Brunette

This preview shows page 1. to view the full 4 pages of the document.
Realism: - film represents reality, the world is
brought to you, believing what is presented is real
- verisimilitude
Andre Bazin: Indexicality: - a photo captures the
presents of a person, shows presents/reality
- symbolic signs (words on a page, Western
University for example) representing an object,
representative
- indexical sign (the word in presence, Western
University for example) requires that something
was there, different causal effect
Italian Neorealism: - Vittoria de Sica Bicycle
Thieves
- focus on facts of Italy in a depression, political
confusion, Benito Mussolini there great dictator
was dead
- a revolutionary humanism Bazin
- these films were about people, and their lives,
shows their struggle
- non-professional actors, shooting on location,
documentary field, continuity
Formalism: - considers the synthesis (or lack of
synthesis) of the multiple elements of film
production, and the effects, emotional and
intellectual, of that synthesis and of the individual
elements
- A formalist might study how standard Hollywood
"continuity editing" creates a more comforting
effect and non-continuity or jump cut editing might
become more disconcerting or volatile (montage
and distancation)
Sergei Eisenstein: - the concept of a bare formula
- its adornment transforms for formula into an
image, a finished form
Attraction: - combining shots that are depictive
- single in meaning/neutral in content
- into intellectual contexts of series
Kuleshov effect - an audience who believed that the
expression on Mosjoukine's face was different each
time he appeared, depending on whether he was
"looking at" the plate of soup, the girl, or the coffin,
showing an expression of hunger, desire or grief
respectively
Soviet Montage: Battleship Potemkin
- "collision" between different shots in an
illustration of the idea of thesis and antithesis
- This basis allowed him to argue that montage is
inherently dialectical, thus it should be considered a
demonstration of Marxism and Hegelian philosophy
- His collisions of shots were based on conflicts of
scale, volume, rhythm, motion (speed, as well as
direction of movement within the frame), as well as
more conceptual values such as class
Metric - where the editing follows a specific
number of frames (based purely on the physical
nature of time), cutting to the next shot no matter
what is happening within the image
- used to elicit the most basal and emotional of
reactions in the audience.
Rhythmic - includes cutting based on continuity,
creating visual continuity from edit to edit
Tonal - motional meaning of the shots -- not just
manipulating the temporal length of the cuts or its
rhythmical characteristics -- to elicit a reaction from
the audience even more complex than from the
metric or rhythmic montage
You're Reading a Preview

Unlock to view full version