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| Time is variable. High concept, synopsis, treatment, complete script and rewrites, producer and executive producer |
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| High concept - 3 attributes |
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| Project must be immediatly accessible and easily understood, translate into visual terms, and must intersect with other discourse (ex merchandise) |
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| gets finances for film, lends his/her name an reputation to film, and/or some of his/her own money into film |
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| Pre-production/preparation stage |
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| Time is roughly 6 months. Film's budget and day-to-day schedule, casting sessions, location scouting, shooting schedule, and members of the team decided. |
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| breaks down film's budget and schedules day-to-day activities |
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| includes the creative talent employed in the production of the film. Salaries of star, producer, director, director of photography are negotiated |
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| fixed salaries of everyone other than creative talents in production of film. Also purchases and rentals. |
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| Combination of above and below the line costs. |
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| also auditions and recalls, organized by director and director of casting |
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| director of photography, production designer, sometimes with director and producer |
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| assistant director sometimes with line producer and/or Unit Production Manager |
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| Principal Photography/Shooting Stage |
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| Time is typically 2 months or "shooting time". Performers, Production design team, editing team |
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| total number of days required to collect all the footage. |
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| amount of film exposed divided by the anticipated length of the film (running time) |
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| Post-Classical Phase: Myth |
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| Uses the myth in different ways in "genre transformation". Ex Chinatown |
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| Chinatown in Genre Deviations |
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| Changes detective/"hard boiled" myth. Cinematography: Usually in B&W, but here in color. Controls hue and tone so familiar to film noir. Narrative Deviation: Detective leaves corrupt society untouched. Protagonist is an anti-hero and female antagonist strays from sterotypical coolness. |
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| Parody: use of black humor/literature of the absurd, humorous burlesque and high seriousness. Nostalgia, sense of contemporary and pastness. |
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| Detective/Hard-Boiled Myth |
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| Protagonist, Private I, hero who lives on fringes and is in conflict with machinery. Comission begins events with initial mission usually deceptive. Detective pawn in larger plot of client. Discovers corrupt society which saves reich and crooked. Female antagonist which PI falls for and then separates from. Police and courts incapable of true justice and only PI can solve crime and bring true justice. |
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| Art movement with socio-political resonances. Reaction against realism and tradition of romanticism. Hostility to mass culture due to belief that only high art can sustain role of social and aesthetic critique. |
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| Camera is meant to reproduce reality yet this period is contradictory in the sense that the camera is self-aware. |
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| Questions of subjectivity and sexuality in formal probings and experimentation |
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| Product of Enlightenment - belief in scientific research and pursuit of knowledge. Believed in universal truths (progress of science and technology) yet also disquiet at the same beliefs it perpetuates. |
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| initally counter culture to modernism and its theory of structuralism |
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| refers to an age 1980s and 1990s than a theoretical movement which poststructualism belongs to |
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| opening problematics in modernism and makes critical theory of modernism. Mentality of 'anything goes' therefore nothing works. Death of Ideology |
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| Historical condition which contains social, political, and cultural agendas and resonances. Questioning of modernist ideas of progress, reason and science. Scepticism about modern belief in supremacy of western world, science's ablity to legislate and high art over popular culture. |
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| pertains to parody which is domain of oppositional art, yet its imitation is not ironic and so not subversive. |
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| Mainstream postmodern culture and oppositional postmodern culture |
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| Parody through pastiche or intertextuality |
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| Negative readings of postmodernism |
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| Discourses elaborated with theory, social, econimc and politcal practices, feminism and gender. Negative: Schizophrenia of postmodernism- references made quickly and shallowly without historical context or depth. Neoconservatives - aesthetically dangerous, divide between high and low art promotes hedonism and anarchy, politically dangerous, reaction against belief in knowledge and progress and unified ideology. Lost edge of art as critique |
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| Positive Readings of Postmodernism |
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| Delights and is fascinated by technology: mass communication and electronics which have revolutionized the world. Domino effect of dissolving barriers between high and low culture through pluralism: Modernism masculine culture which excluded women. Creative relationship between high and low has made space for minority cultures and fragmentation of a culture that is positive. Refutes generalizations that excluded and advocates a plurality of individualized agency. |
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| Origins traced to Marxist theory, cause and effect relationship of history, and psychoanalysis, multiple causes for a neurotic symptom - Freud. French introduced the notion in film text. Authors looked for contradiction and "gaps" that marked a film overdetermined.Look at scenes as symptom. Allows us to open up the classical, closed text of hollywood to multiple and contradictory readings. |
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"Author", this theory assumes films are the result of a primary artist, usually director-centered.
Method: Critic takes several films of director and traces patterns, similarities, and traditions. |
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Assumes the narrative/story of a film is primary and such stories can be divided into classifications.
Method: Familiar narrative patterns, myths, conventions, iconography. Little concern for attributing individuals responsible. |
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| Cultural Materialist Criticism |
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| Assumption that any film is a product of a cultural context and that filmmakers and spectators bring a history to exhibition. Evaluated on basis of common knowledge and prejudices at time of production as well as how audiences received it. |
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| Two distinct forms: psychoanalytical content analysis, narratives and images evaluated on the basis of their psychosexual meaning (Freud and Jung) EX Oedipal conflict in White Heat. Lacanian criticism, understanding the film as a process and the extent it works with human desires to get spectator appreciation. |
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| From Christian Metz, how film conveys meaning through signs and symbols. Cinema is a language, images like words |
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| Language based and focused on how film communicates but film is a product of human culture and reflects culture. |
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| Centers on star, actor, or celebrity: sociolgical, focuses on star as social phenomenon as product of the film industry. Semiotic, centers on specific signification of a star in a varity of filmic discourses (films, media, consumer commodities). Including study of fan relationship to stars and outside film industry |
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| Two forms: Subject matter and representation female characters given- positive role for women, placed in positions of responsibility or dependency. Ways women in society have been affected by sex roles presented in films. Second is who does the "looking", women looked at by men rather than enabled to "look" themselves. Mirror Stage Development of Lacan, woman object of male gaze in terms of anatomy and fractured representation. |
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| Theories of gender and sexuality limited by binary opposes. |
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| Theories of history (1) aesthetic: film as art. (2) technological: film as series of technological inventions. (3) economic film history: financiers who sponsor and controlled filmmaking and ideologies. (4) Social History: movies as reflective of audience's mass sentiments during designated period. |
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| Ideas and doctrines of Russian Formalists, cognitive psychology, focus on formal properties of film and how these formal properties are harnessed by filmmaker to tell story. Spectator has a role in film due to the spectator's inferences |
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| Political Interest Criticism |
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| Exames theories and practices relating to race, class, or gender and recognizes film as an important form of cultural expression. |
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| Studio System and Producers |
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| Producers don't know about art but know what sells and how to systematically deliver more to the same |
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| Conventions of Feature Film |
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| Popular audience opinion in developing an engaging and profitable means of narrative. |
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| Studio Era National and International domination |
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| Distribution extended beyond US and used established story types or genres. Studio era 70%-90% of screen time in Europe and Latin America, 90% of all films fell into pre-established conventions |
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| Familiar, essentially one-dimensional characters acting out a predictable story pattern within a familiar setting. Most profitable and popular but non-gere films achieve greater critical attention |
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| Directorial Authorship, director is controlling creative force and hence potentially the "author" of the films. |
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| Formalized critical response to this particular conception of filmmaking. uncover the deep structure (directorial personality in order to intrepret and evaluate the surface structure, his/her motives) |
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| genres conventions imbues with meaning |
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| Viewer's familiarity with genre whose expectations come from multiple viewings |
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| Genre's socializing influence |
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| generic pattern involves narrative elements (character, plot, setting) and thematic issues. Active but indirect audience participation in formulation of popular commercial form |
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Film Genre: Static and dynamic system- cultural significance as a meaningful narrative system. Verbal language is sign system shared by all cultures its basic strict informs every system of social communication. Material Economy motivates studio to redefine story formulas into narrative economy for filmmakers and viewers. Genre of determinate space has symbolic arena of action - specific social conflict in familiar locale according to prescribed system of rules and behavior. Indeterminate space doubled hero in guise of a romantic couple who inhabits "civilized" setting - highly conventionalized value system - integration of couple into larger cultural community (musical, screwball, social melodrama). => Social Order vs Social Integration.
Genre Film: establishment (narrative and iconographic cues) of generic community with inherent dramatic conflicts. Animation of conflicts through actions and attitudes of the genre's constellation of characters. Intensification of the conflict by means of conventional situations and dramatic confrontations until the conflict reachers crisis proportions. Resolution of the crisis a fashion which eliminates the physiological or ideological threat and thereby celebrates the temporary well-ordered community. Examines and affirms "americanism" with all its conflicts, contradictions, and ambiguities |
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