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Classical Film Theory.docx

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Film Studies
Film Studies 1020E
Peter Brunette

Realism: - film represents reality, the world is - its adornment transforms for formula into an brought to you, believing what is presented is real image, a finished form - verisimilitude Attraction: - combining shots that are depictive Andre Bazin: Indexicality: - a photo captures the - single in meaning/neutral in content presents of a person, shows presents/reality - into intellectual contexts of series - symbolic signs (words on a page, Western University for example) – representing an object, Kuleshov effect - an audience who believed that the representative 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 - indexical sign (the word in presence, Western University for example) – requires that something was there, different causal effect Soviet Montage: Battleship Potemkin - "collision" between different shots in an Italian Neorealism: - Vittoria de Sica – Bicycle illustration of the idea of thesis and antithesis Thieves - This basis allowed him to argue that montage is - focus on facts of Italy in a depression, political inherently dialectical, thus it should be considered a demonstration of Marxism and Hegelian philosophy confusion, Benito Mussolini – there great dictator - His collisions of shots were based on conflicts of was dead - a revolutionary humanism – Bazin scale, volume, rhythm, motion (speed, as well as - these films were about people, and their lives, direction of movement within the frame), as well as shows their struggle more conceptual values such as class - non-professional actors, shooting on location, documentary field, continuity 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 Formalism: - considers the synthesis (or lack of synthesis) of the multiple elements of film what is happening within the image production, and the effects, emotional and - used to elicit the most basal and emotional of intellectual, of that synthesis and of the individual reactions in the audience. elements Rhythmic - includes cutting based on continuity, - A formalist might study how standard Hollywood creating visual continuity from edit to edit "continuity editing" creates a more comforting effect and non-continuity or jump cut editing might become more disconcerting or volatile (montage Tonal - motional meaning of the shots -- not just and distancation) manipulating the temporal length of the cuts or its rhythmical characteristics -- to elicit a reaction from Sergei Eisenstein: - the concept of a bare formula the audience even more complex than from the metric or rhythmic montage 7 Virtues/Bourgeois 7 Sins Overtonal/Associational - the overtonal montage is Content the cumulation of metric, rhythmic, and tonal - narrative - narrative intransitivity – montage to synthesize its effect on the audience for transitivity – cause gaps, interruptions, an even more abstract and complicated effect and effect episodic - identification – - estrangement – blocking Intellectual - uses shots which, combined, elicit an empathy the engagement with intellectual meaning - transparency – characters represents the world - foregrounding – the Authorship: - corpus of films understood as - single diagesis actual film itself expressions of a filmmaker‟s artistic/personal - closure - - multiple diagesis sensibilities harmonized - aperture – open ended, - identifying and understanding continuities as - pleasure - intertextuality filmmaker‟s output satisfication - un-pleasure – critical - fiction – awareness Truffaut‟s politque des auteurs: - there are no good suspension of - reality – relationships to or bad movies, only good and bad directors disbelief life - Cahiers du Cinema: French magazine on film - Orson Welles: he didn‟t write the movie by Sarris: - the director must exhibit certain recurring himself, he got a writer who own the Oscar… characteristics of style, which serve as his signature - Hitchcock never actually wrote any of his movies… but directed them Hitchcock‟s style/signature: Vertigo, Psycho, Rear Window Counter Cinema: - contrasts the seven values of - voyeuristic the orthodox cinema with their “revolutionary, - ice queens materialist counterparts and contraries - peeping/punishing - Peter Wollen - knowledge/danger - cameos Political Climate and Historical context: - lots of riots around the world in France, US – civil rights Nolan: Batman, Dark Knight, Memento, Inception movement and other movements - non-linearity - protests - inward-looking characters (psychological - There was a feeling of failure and disillusion problems… like Batman) among the people - problems of memory/identity (Memento) - Filmmaking had to change to escape the cage of bourgeois capitalism Godard: Breathless, Week End - Everything is produced in a capitalist society and - jump cut there is an unfair and unjust status quo - gaze at camera - intertextuality Comolli & Narboni: - we do not close our eyes to the fact that a product of this nature is situated fairly Antonioni: Blow Up and squarely inside the economic system of - meditation on space capitalist publishing - self reflexivity - every film is political, inasmuch as it is determined by the ideology which produces it Problems: - bad director can‟t make a good film; - Bourgeois values: the individual, Christian virtue, goo
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