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Definition
Drifters: 1936
Night Mail: 1929 |
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Observer
Primary: 1960
Style: Quest for synchronized sound, never stop looking, never stop responding to the world around one |
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Promoter
See it Now- 1951 (Beginning of the Cold War)
-All were narrated by Murrow and supported by actual footage |
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Advocate
Plow that broke the plains: 1936
The River: 1937
Power and the Land: 1940
Style: Poetic narratives/ not just documentaries/ attached setiments to films |
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Buglar
Listen to Britain: 1942
Precise, Cal, Rich in resonance |
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Catalyst
Candid Camera: 1960
Hidden cameras and Microphones |
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Observer
Titicut Follies
Controlled Audio equipment while directing camera man where to shoot |
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Observer
Primary:1960
Recorded sound and video seperately and edit it together |
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Buglar
Why we fight series: 1940s |
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Salesman:1969
Hand held cameras, shots in cars |
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| Gov. Controls, opposition is not permitted. Subordinate to the interests of the state |
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| A socioeconomic structure that promotes the establishment of a classless society based on common ownership of the means of production |
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| Public opinion matters. Property and the distribution of wealth are subject to control by the community |
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| Each person sharing the common overall priority of maximum limitation of government combined with optimum possible individual liberty |
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| Expressed themselves within mainstream of American culture |
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| : Shapes ideas, concepts of human culture |
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| Brief scene, skit, or sketch; used in Vaudeville |
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Term
| Synchronous sound on location |
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Definition
| sound recorded at the time of the filming on location |
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| Compendium of different filmic modes |
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| Unintended or deliberative ommissions of history, not its causalities |
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| Selecting or arranging and modifying images and sound previously recorded |
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| ways of overcoming mechanical reproduction of reality in favor of constructing something new in ways that only cinema could accomplish |
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| Why is the EMB inherently propagandistic |
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Definition
| The art of natural projection. It formulated the idea of a massive PR complain under Gov. |
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| Considering the genre of the film, unrepentant impressionist, transfer of poetry to and audio visual medium |
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| Something that is depicted out of its place in history |
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Term
| Leach's 3 criteria for poetry effect |
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Definition
1. Montage effects
2. Filmakers ability to develop a personal vision, reoccuring motif
3. No VOG |
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Term
| What themes are present in this poetry film |
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Definition
| Poetry, propaganda, peoples war. |
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Term
| Ten Stylistic elements to Humphry Jennings film- Poetry in Motion |
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Definition
1. Poetic Style- The illusion that the British class system had been swept away and sought to dupe people into believing there will be no more social change
2. Sponsored propaganda
3. Beautiful images and striking montages
4. Emphasized homogeneity
5. Personal Visions: a figment of the romantic imagination
6. no VOG
7. Suocial subjectivity: POV of editing that focuses on spectators views
8. Creates private eye and public gaze
9: social and cinematic unity, subjunctivity
10. Ambiguity, ideological limitations |
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Term
| Need for why we fight series |
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Definition
To build determination to the highest pitch, as to the enemy, to chill the marrow, paralyzing the will to resist.
America: To show the impact of the actual was, and what they were fighting for and against, to show post war relationships. |
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Term
| How was NIght and Fog different from most Holocaust films |
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Definition
| Some facts are not actually spoken, but seen thru photos and with narration you make connections. Pictures allude to what the narrator only partially speaks about |
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| Dealing with crude or elemental emotional processes |
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| Post war tech developments |
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Definition
| Magnification, faster shutter speeds, filming within the body with smaller cameras |
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Term
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| Flarherty recieved 175.000 dollars from Standard oil to make the film, the oil company did not even want to be identified. |
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Term
| How and Why were the non talking people like puppets |
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Definition
| They were manipulated in editing, non verbal communication could be taken in different ways. Shifted because talkers had their own controls. THe control was shifted away from the directors |
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Term
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| found truth by what is available to the camera. Takes camera to situation of tension and hopes for crisis |
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Definition
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Term
| Cinema Vertie vs Direct Cinema |
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Direct cinema: finds it truth in what was available to the camera, takes camera to a situation of tension and hopes for acrisis.
CInema Vertie: tried to precipitate the crisis (Sorrow and the pity, candid camera) |
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| Pros/Cons of Cinema Vertie |
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Definition
Pros: Gives status to the interview, good for biographical doc, helps the lowly/poor become active parts of society
Cons: Not good for informational purposes. Raised ethical and social concerns, issues not easily resolved, limited by talking heads. |
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| Why was Tougues United Revolutionary |
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Definition
| it exploited homophobia to win office |
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