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Film director, actress, producer, and Academy Award winning screenwriter.
-Directed The Virgin Suicides
-wrote Lost in Translation (*Oscar winning)
-Directed biopic Marie Antionette |
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director, producer, and screenwriter
-Her film career includes many independent punk-rock documentaries.
-Later she was a writer for the TV series Rosanne.
-Directed Waynes World, and Black Sheep |
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-film director
-sci-fi, action, and horror
-The Hurt Locker, Blue Steel, Point Break |
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-African American director
-began in music videos
-best known for Training Day (award winner)
-Part of the group of Commercial Black Independents who began making low budget entertainment films, with greater commercial ambition and desire to join mainstream |
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-African American film director, screenwriter, and producer from LA
-often deals with inner-city violence: Boyz N The Hood
-recent mainstream film: 2 Fast 2 Furious
-part of Commercial Black Independents who address social issues |
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-group of filmmakers from UCLA film production program
-worked almost entirely outside of commercial structures of Hollywood
-Made films that contested representational strategies of Hollywood films |
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| "Stand and Deliver" Staging |
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-actors settle into fixed positions
-usually singles and over the shoulder angles, but may have 'floating head' where actors in place & camera drifts around them |
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| -Steadicam follows characters as they walk and talk |
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1.Ensemble cast, multiple protagonists
2.small/vague links between storyline
3.storylines have indirect impact on one another
4. family & setting as unifying elements
5.omniscient, self-conscious narration |
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-unacquainted characters intersect by sheer accident/fate (ex: traffic accident)
-Crisscrossed fates may launch the plot, or more commonly convergences emerge in the middle or at the end
-common in Network Narratives (Magnolia, Nashville)
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-intricate narrative
-narration often purposely misleading, encouraged to question if events are real
-often characters ask what happened, then flashes back, or rewatch film & find clues/revelations
-ex: The Sixth Sense |
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-films create a new "rich, fully furnished" ambiance for action
-Layered worlds compete with brands/logos
-Star Wars, Blade Runner |
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| reoccuring objects that serve to remind us of the story world before it was thrown into disarray/disorder |
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-emphasized in the last act
-appointments & deadlines that organize film's overall time scheme
-motivates future scene, builds expectations
-appointments as form of foreshadowing |
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1980s:
-journey trajectory integrated into 3 act structure
-dramatizes the writers thematic attitudes about life journey
-rather unpromising model for screenwriting |
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-protagonist that is flawed in achieving their goals
-more believable to viewers
-ex: Diehard
-Bordwell: every major character should have a flaw: vulnerable, driven by demons, drawn to the dark side-- cliches of story pitches to give the protagonist a compelling fault |
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distributor rents out theater space for flat weekly fee & takes all receipts
used for niche products like My Big Fat Greek Wedding |
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-niche market, only 5 of top 100 grossing films
-stars not needed, genre expectations sell itself
-critic-proof, word of mouth carries more weight
-often associated with low budget, but not always true (Jaws, Jurassic Park, Silence of the Lambs) |
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| -genres that have an effect on the audience's body-- bodies display a physical reaction (laughter, tears, trembling) |
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-visual special effect used in marketing pictures in the 90s
-images of two successive objects taken and merged into a single flowing image
-Michael Jackson Black & White |
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-subtle effects that enhance the image
-adjustments to light & color within a sht |
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-ability to seemingly freeze-time, move the camera around in space, and then continue motion in a relatively fluid fashion
-what The Matrix became known for |
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-suggests we've entered the world of the 'hyper real'
-age in which simulation & simulacra establishes the terms of our existence
-saturated by images--lost ability to distinguish simulation vs reality |
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-political economy of the Sign
-living in an era dominated by simulacra
-unable to distinguish between the sign and the referent (The Matrix: Neo's condition)
-hyper-reality |
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-detachment of signifiers from their historical references
(imitation as a use of flattery)
-o The Matrix is a pastiche of dif cinematic elements and also religious elements and references to literature |
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-term coined by William Paul
-• Cycle of comedien comedies and teen comedies that emerges in mid-to-late 1970s
-• Historically linked to carnivalesque and the overturning of social hierarchies
-bodily functions, raunchy sexuality, low culture, class conflict |
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-box office performance tends to be weaker than other 'tent pole' films
-important genre for female stars
-high degree of self consciousness |
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| -reference in The Matrix-- "the red pill or the blue pill?" |
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-motif in Magnolia
-"if you do not let them go, I will send a plague of frogs" |
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| American Independent Cinema |
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-increased opportunities provided by home video
-Traits: low budget, alternative forms of funding (private, grants/awards, agencies, own finances),specialty distributors, actors (stars, known Indie actors, unknowns)
-new institutions that provide exposure (Sundance Film Festival, Landmark Cinemas) |
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-singer, referenced in Magnolia "Deathly"
-"now that I've met you would you object to never seeing each other again"
-song sung by all protagonists "One"- unifies vignettes that introduce the 8 different storylines |
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-referenced in Magnolia
-explored phenomenons that can't be explained by science, like raining frogs |
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-most active and successful black filmmaker after 1970
-NYU graduate
-explores issues of black history, institutional, and urban experience
-New York filmmaker |
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-digital erasure of towers from Hollywood films
-documentaries about 9/11 (Fahrenheit 9/11)
-docudrama's about the events (United 93, World Trade Center)
-oblique fictional representations (Munich, V for Vendetta) |
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| -TV network, purchased Universal so now film production company as well |
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-major film production company
-purchased Columbia pictures to make Sony Corporation
-involved in technological aspects of film & film production |
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-American media conglomerate
-cable, satellite, film production & distribution
-Paramount Pictures & Dreamworks studios |
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-DVD (1996)
-allowed for "directors cuts" (allows for unrated versions, dif aspects)
-special features attract consumers
-digital format playback system |
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-kids age 2-11 primary users in 90s
-40% avg collection for kids
-family film spurs movie/VCR sales
-stimulus for increase in film production |
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-a laser or stylus readable random access circular disc that contains both audio and video signals recorded in an analog form
-any media that predates DVD typically |
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2000+ engagements
strategy to be critic proof: get a bunch of people to see it before bad review comes out |
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600-2000 engagements
late runs of films after initial playdates |
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begins limited and then goes wide
aims to take advantage of good reviews/word of mouth (opposite of saturation strategy) |
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-feature African Americans in lead roles
-often have anti-establishment plots
-criticized for stereotypical characters |
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| directed Silence of the Lambs |
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| set of standards proposed by a branch of the Gorge Lucas company to be used to assess the quality of sound reproduction in cinema & home entertainment systems |
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first large-scale use of computer graphics in a feature
-film failed, computer graphics temporarily exiled from film industry |
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