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| chain of events linked by cause and effect occuring in time and space. BT. narritive is the organization of spatial and temporal date into a cause effect chain of events with a beginning midle and end that embodies a judgment about the nature of the events. EB |
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characters
plot
narration
story |
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| the sequence of how things occur. |
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| ellement of a narritive duration |
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| story time anything before and after the events of the film, plot time all the events you see, screen time how long it takes to watch the movie |
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introduction of setting and character
explanation of a state of affairs
initiatijng event
emotional response/goal formation
complicating actions
climax and outcome (resolution new equilibrum)
reactions to the outcome (epilogue implicit or explicit moral lesson) |
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| number of times a scene takes place probably different view |
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| the regulation and distribution of story information-the emotional physical or intellectual perspective through which the characters, events, and action of the plot appear |
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| narration range of knowledge |
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| restricted,unrestricted/omniscent knows everything |
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| naration depth of knowledge |
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| objective-third person characters external behavior subjective first person includes perceptual or mental subjectivity |
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| some specific agent who purports to be telling the story narrators may be diegetic or nondiegetic |
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| characteristics of classical hollywood narratives |
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| action springs primarily from indiviidual characters as casual agents.main characacter has goal. counterforce opposition creates conflict. plot shows events of significant importance. unrestricted objective. strong closure |
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| alternative film narritives |
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| deviate from lineary of narritive.undermine centrality of main charcter. question the objective realism and or reliability of classical naration. unsettle audience expectations. may omit links in cause-effect logic |
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| a class or category of artistic endeavor haiving a particular form, content, technique etc. |
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| an item that is synonimous in a genre |
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| aproaches to genre history |
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evolutionary model a: growth,flowering,decay
model b:slef conscious formalism increases over time
russian formalist model: genre manifests itself in three steps-dominant element |
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| seek to cause fright and even terror in the viewer central to such films is the dramatization |
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| creative treatment of actuality |
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| narritive, rhetorical, categorical |
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| cinema truth records an event but prompts responses to it; bordwell and thompson consider this a variation or subset of direct cinema |
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| highlights an aspect of the natural world such as an animal |
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| presents an asepect of the life of a compelling person or people |
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| assembiling images from archival sources |
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| had held camera, open composition, voiceover naration, unscriped commentd,unstable image, no lighting control zoom lens grainy comp aknoleg=dgment of cameraa |
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p story being presented in different ways
s the chain of events in chronological order.
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| pereptual subjectivity vs mental subjectivity |
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Perpetual subjectivity: through sight of sound
Mental subjectivity: we may hear characters internal voice reporting characters thoughts, or we might see the characters inner thoughts, representing memory, fantasy dreams, or hallucinations.
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| Bergs taxonomy of alternative plots |
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| narritive fiction, documentary, experimental films, animation a technique used in all forms |
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| categorical, rhetorical, abstract, narritive |
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| repetitive elements of film genres |
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| plots, characters, settings, film techniques, iconography, stars, themes |
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audiences expect the genre film to offfer something familiar but they also demand variation the interplay of familiarity and novelty is central to the genre film
audiences expect something familiar, but something new as well
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| types of arguments in rhetorical form |
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source-centered: films argument rely on what are taken to be reliable sources of info.
subject-centered: the film employs arguments about subject matter. Sometimes the film appeals to beliefs common at the time in a given culture.
viewer centered-
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| compilation, interview, direcct cinema, cinema verite, nature,portrait. |
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| reality television vs documentary |
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| reality tv puts people in contrived situations and sees how they will respond. |
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| frame by frame or pixel by pixel filming |
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| experimental films characterisitics |
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filmmaker work independently to of commercial production, distribution , exhibition, and they often work alone
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| cut out and silouhette animation |
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| Pixilation (from pixilated) is a stop motion technique where live actors are used as a frame-by-frame subject in an animated film, by repeatedly posing while one or more frame is taken and changing pose slightly before the next frame or frames. |
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| major areas of film dicipline |
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| history theory critscism production |
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hypothesizing about the nature of cinema
formalisim 20s 30s
realism40s 50s
structuralism and simiotic 60s 70s
contemporary theory and postructuralism and beyond 1980s 2000s |
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| film dicipipline critiscism parts |
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Definition
auteurism classifies and analyzes films according to the consistent artistic vision or signature of their directors. emerged in france in the 1940s.
nneoformalism identifies ways in which work to express a unique meaning emerged in us in the 1980s based on work from russian formalists |
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| the theory of history-assumptions principles and methodologies of historical study |
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| fim history category esthetic |
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| characteristics of early films |
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| typically less than a minute with lots of longshots |
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| early motion picture devices |
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| kinetograph, kinetoscope cinimatographe |
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| edisons camera heavy not portable |
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| peepshow device byu wkl dickson |
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| luminear brothers 14 pounds and converted projector |
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| major historical movements in film |
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| early hollywood classical hollywood new hollywood german expressionism, french impressionism and surrealism soviet monntage italian neorealism french new wave hong ong cinema |
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| classical hollywood style |
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| Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work). |
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| depends heavily on mise en scene. shapes are distorted unrealistically. actors wear heavy make up and move in jerky fashion or slow. |
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| french impressionism and surrealism |
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| focs on inner psychological action. a search for bizarre evocative often irrational imagery and structure |
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| in their writings and films directors chapioned the powers of editing. films from hollywood and the french impressionist filmakers told these stories through fast cutting incuding the frequent close framings. inspired by these imports the young soviet directors declared that a films power arose from the combination of shots |
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| talian Neorealism (Italian: Neorealismo) is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors. Italian Neorealist films mostly contend with the difficult economic and moral conditions of Italian post-World War II, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice and desperationhand held cam. |
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| the desire to shoot more current social issues on location, and their intention of experimenting with the film form. "New Wave" is an example of European art cinema.[2] Many also engaged in their work with the social and political upheavals of the era |
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| lots of ation and movement |
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| focuses on sex and violence |
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| focuses on black power movement in 70s |
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| Formalist film theory is a theory of film study that is focused on the formal, or technical, elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. It is a major theory of film study today. |
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| Realism, started by the Lumiere documentaries, is all about showing the truth. A realist will try to preserve the illusion that their film world is unmanipulated, an objective mirror of the actual world. We rarely notice the style in a realistic movie. Th |
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| Film semiotics is the semiotics of film; the study of signs as they pertain to film on a variety of levels. |
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| classifies films according to the consistent artistic vision of their directors. popular in france in 40s 50s |
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| assumes that films are works of art that exist in a realm distinct from the real world that prduced them yet have an imprtant relationship to that world. a relationship the neoformist cal defamiliarzation. analyzing a specific film consists of identifying the ways in which elements of form and style work to defamiliarize our perceptions expressinga unique meaning. analysts goal is to identify the function of cinematic devices (how they work) then determine the motivation for their inclusion |
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| a chain of events linked by cause and effect and occurring in time and space. |
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| is an aesthetic of film that does not narrate, or relate "an event, whether real or imaginary" |
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a film that tells a fictional or fictionalized story, event or narrative. In this style of film, believable narratives and characters help convince the audience that the unfolding fiction is real.
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Categorical: designed to convey categorized information.
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makes an argument and want to convince the spectator it.
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suggests idea and emotions to the viewer by assembling images and sounds that might not have any logical connection.
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| te study of film with respect to its development over time may focus upon aesthetic technical economic and/or social aspects |
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| in the 1960s through 80s poststructuralism and its methods of deconstruction became fashionable in academia. post structuralism was based on the owrk of philosopher and linguist jacques derrrida who said meaning is always unstable. |
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| Direct Cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera presence: operating within what Bill Nichols,[7] an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention a |
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| Direct Cinema is a documentary genre that originated between 1958 and 1962 in North America, principally in the Canadian province of Quebec and the United States, and developed by Jean Rouch in France. Similar in many respects to the cinéma vérité genre, it was characterized initially by filmmakers' desire to directly capture reality and represent it truthfully, and to question the relationship of reality with cinema.[1] |
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