FPA 137 MT1 Study Guide.docx

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Simon Fraser University
Contemporary Arts
FPA 137
Peter Lester

Terms: Auteur Author of a Film, Theory Someone who puts their own personal stamp on a film Director = Films source  Roger Leenhardt + Andre Bazin  Cashier (Magazine) Stresses writing _ cohesion across film markers films  Stylistic +thematic Truffaults version = politique des auteurs Stager Script writer hands script to director and director adds preformers + pictures  Truffault term  Cinema of quality (0 personality)  Factory film making Critics of Auteur Theory They're just re making the same film over and over again with a different story the actors remain the same Reflexivity Pointing to its own materials, structures + history  EX: Pixar putting inside jokes in films OR Michel breaking the 4th wall in breathless  insides jokes  self awareness of quality  engagement with film history Direct Cinema USA 1958-1963 Observational Documentary  open ended + episodic narratives  capture everyday life  study individuals  moment to moment Robert Drew  Crisis structure Cinema Verite France 1958-1963 Participatory Documentary  Emerged from JEAN ROUCH ethnographic inquires  fly in the soup Iconography Recurring symbolic images that carry meaning from film to film  Props, music, celebs Eras: Era (years+ directors) Trends Specifics New Wave (1958 - 1967 - Jump cuts (Discontinuous French gov. funded directors Truffault + Godard) editing) - Open ended narratives More international film - Natural Lighting schools - Slice of Life  First directors that - Neorealism had a sense of film - Lighter moveable cameras history and old - On Location Shooting techniques - Panning shots = action - Sequence shots (long shots) Young film makers and movie - Zoom lenses goers (NOUVELLE VAGUE - Distance filming CINEPHILES) - Reflexivity Most we're Casher du Cinema critics Less viewers due to TV New Wave (the Left Bank) - Flash backs Part of new wave (1958 - 1967 Older generation - Voice Overs film makers) - Quality > everything Documentary (1945 - 1965) - Social interaction films Documentaries more on TV (Serendipity) - Directors express personal attitudes in film - lighter cameras - 'fast' film (less light needed) - better sound recording Re thinking relationships between filmmaker + subjects + audience - competing notions of "objectivity" - Direct Cinema - Cinema Verite Hollywood Old to New (1960- - Long focal lenses (softer Film classification (M/ PG, R, 1980 Speilberg, Lucas, flatter more blurry images) X, G) Coopla) - On location filming - harsh gritty look of films Older gen. retired, New gen, - faster flashy editing takes over - More colour stock  Diverse - Long telephoto lenses  late 20s  Went to film school or were critics or TV producers Liked tradition due to film school Blockbusters lose money  Major companies produce fewer blockbusters  blockbusters released during summer + Christmas  More focus on big budget films Cheap genre fare films for young ppl  EX: Grease, Saturday night fever  Updating genres USA gov. let film indust. claim tax investments  let industry recover  abolished in 80s  helped make successful films Opportunities opened for independents (low budget films filled market) Other New Waves: Country Trend Italy Lower budgets, new genres Spaghetti Westerns - SERGIO LEONE  Western Sub genre  Often shot in Spain  International Cast Brittan Kitchen Sink  Everyday life  short lived Germany Gov. gave interest free loans  only for scripts of directors with notable shorts Subjects  Broken marriages  casual sex
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