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LOOKING AT MOVIES NOTES.docx

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Department
Film
Course
FILM 1401
Professor
John Mc Cullough
Semester
Winter

Description
LOOKING AT MOVIES CHAPTER 1Cinema is Greek for kinesisFilm is more serious than movies but it literally comes from the celluloid strip that movies were captured onCINEMATIC LANGUAGENo matter the genre movies are arranged in a deliberate narrative decided by the directorSome genres studios countries or directors have created their own narrative stylesMovies draw from other forms of 2D compositional principles photography painting drawing etcAll movies are a series of images usually 24 frames per sec cut together from INDIVIDUAL SHOTS that join together in an extended sequence This is called EDITINGINVISIBILITY IN MOVIES what you dont notice because of editingUnlike a stageplay movies can cut perspectives from any angle or distance Fadeins and fadeouts can represent the passage of time but the amount of time is undeterminedCUTTING ON ACTION is an editing technique to seamlessly join two shots together midactionCONTINUITY OF SCREEN DIRECTIONwhen a series of shots of the same scene are joined together with a continuous lateral movement ex left to rightCULTURAL INVISIBILITYCommercial instinct drive directors to conform their movies to the shared belief systems of the audienceCultural invisibility is not always calculated the directors themselves may not even noticeEven controversial or provocative movies can be popular if they reinforce emotional responses like yearning of deep beliefsIn JUNO the PROTAGONIST reinforces cultural beliefs in the family institution and the preservation of lifeEXPLICIT AND IMPLICIT MEANINGIMPLICIT is deep meaning of the movies that is derivedinterpreted from the available explicit meanings on the surfaceEXPLICIT is what the film is about the plot summaryVIEWER EXPECTATIONViewers form expectations of movies from their promotion genre type cast actors and directorstudio stylesFORMAL ANALYSISTHEMES Motif the chair is an opening and repeated theme in JUNOFINGERNAIL SCENEJuno enters with DOLLYIN shotCuts shorten from ten seconds onward in a rhythmic patternCamera adopts her point of viewJuno expresses anxiety in a juxtaposed shot after nailsThe sound of fingernail actions is greatly exaggeratedRhythm of scene is broken by Juno jumping sets from inside the waiting room to outside passing the prolife protester ALTERNATIVE APROACHES TO ANALYSISAnalyze movies as cultural artifactsFeminist perspectiveEconomic perspectiveScreen writer of Juno was a former stripper vs Knocked up written by a manLinguistic analysis of eraANALYSIS OF HARRY POTTERUnlike other movies in a series like star wars Harry Potter allows the audience to watch the characters grow up on screenThe movie evokes a nostalgia of medieval times before computersThe movie taps into WWII by having an enemy leader ruling through fear and discriminating by bloodAs a classical story it is about a boy from an obscure background that is chosen and challenged with many tests until he defeats the ultimate evilPotter is also a Christ figure who is anointed questioned betrayed and redeemed Ending with selfsacrifice and resurrectionScene analysis of deathly hollows part 1Harry and Hermione in a tent alone because Ron is jealousBoth are agitated and listen to Rons abandoned radio tight framing shows their faces and emotionsThey are two anxious teens in a tent alone Hermione takes Harrys hand and that is the first shot they are in together they begin taking off each others enchanted jewelry the music is swellingThe director ends the rhythm of intimacy by jump cutting into a twirl and dance between Harry and Hermione defusing the tension and renewing the friendshipThe dancing ends and the grim reality returns Hermione walks out of the tent as Harry watchesTest studyAnswer review Questions at end of chapterChapter 2PRINCIPLES OF FILM FORMVery little in a movie is left to chance everything is carefully plannedFORM AND CONTENTCONTENT is the subject of an artworkFORM is the means by which the subject is expressed and experiencedFORM IS CINEMATIC LANGUAGE because it lets us see the content in a particular wayExContent is Juno thinking about fingernails and changing her mindForm is the dcor patterns implied proximity point of view moving camera and soundFORM DISTINGUISHES ARTISTS and the interpretationEx Greek sculpture of a human is very realisticIDEALIZED ex Hermes carrying the infant DionysusGiacomettis walking man 1960 exaggerates and elongates the human figure ISOLATEDNERVOUSHarrings Self Portrait smooths out and simplifies the contours of the human figure into an abstract 2d rendering PLAYFUL MISHEVIOUSTHE WAY FORM INTERPRETS THE SUBJECT CHANGES THE MEANINGFORM AND EXPECTATIONSIn Hollywood directors and screenwriters assume people decide whether they like or dislike a movie within the first 10 minsOften movies begin with the normal world altered by an incident and even create foreshadowed values with objects like guns pits or magical items through patterns Some directors like Alfred Hitchcock may give meaning to an object in a movie but never use it in the plotPARRALLEL EDITINGELIPTICAL EDITINGThe audience instinctively searches for pattern without realizing itJoins two scenes together in an ABABABABAB pattern which is often used to heighten drama and make actions appear to be happening simultaneously Some directors will build a suspense pattern but break it by showing that the two AB scenes are in different places and that the character is in the wrong placePatterns can continue in a predictive pattern but are usually broken with dramatic effectFUNDAMENTALS OF FILM FORMMOVIES DEPEND ON LIGHTLighting enhances texture depth emotions and moods in the shotMovies provide an illusion of movementMovies are actually 2D still images in quick succession Illusion of Succession PERSISTANCE OF VISION is the process in which the human brain retains the last image for a fraction of a second longer than the eye records itPHI PHENOMENON illusion of movement created by events that succeed each other rapidlyCRITICAL FLICKER FUSION when a single light flickers on and off with such speed that the individual pulses of light fuse together to give the illusion of continuous lightHuman can discern no more than 50 pulses of light per second Since frames are only slightly different from each other we perceive it as apparent motion rather than jerky movements
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