Term
|
Definition
| movie that aims to inform viewers about truth/fact |
|
|
Term
|
Definition
| documentary films function on name of intellectual/spiritual/cultural development |
|
|
Term
|
Definition
| present (presumed) factual descriptions of actual events, persons, places |
|
|
Term
|
Definition
| eschews/de-emphasizes stories/narratives |
|
|
Term
| documentary organizations |
|
Definition
| formal expositional strategies used in documentary movies |
|
|
Term
|
Definition
| present a catalog of images/sounds throughout the course of the films |
|
|
Term
| contrastive organizations |
|
Definition
| present a series of contrasts/oppositions meant to indicate the different point of views on its subject |
|
|
Term
| developemental organizations |
|
Definition
| places/objects/individuals/experiences are presented through a pattern that has a non-narrative logic/structure but still follows a logic of change/progression |
|
|
Term
|
Definition
organizational point of views that shape their formal practices according to certain perspectives
-explorative, interrogative, persuasive, reflexive/performative |
|
|
Term
|
Definition
announce/suggest that the film's driving perspective is a scientific search into particular social, psychological physical phenomena
-cumulative, contrastive, developmental |
|
|
Term
| interrogative/analytic positions |
|
Definition
| rhetorically structures a movie so that it identifies the subject as being under investigation |
|
|
Term
|
Definition
| articulates a perspective that expresses a personal/social position using emotions/beliefs and aim to persuade viewers to feel a certain way |
|
|
Term
| reflexive/performative positions |
|
Definition
| call attention to the filmmaking process/perspective of the filmmaker in determining/shaping the material being presented |
|
|
Term
|
Definition
| examine/present both familiar/unfamiliar peoples/cultures as social activities |
|
|
Term
|
Definition
| aimed to investigate/celebrate the political activities of people as they appear within the struggles of small/large social spheres |
|
|
Term
|
Definition
| concentrates largely on recovering/representing events/figures in history |
|
|
Term
| conventional documentaries histories |
|
Definition
| assume the facts/realities of a past history can be more or less recovered/accurately represented |
|
|
Term
| reflexive documentary histories |
|
Definition
adopts a dual point of view
describing event + awareness that film/etc can never fully retrieve the reality of the lost history |
|
|
Term
| ethnographic documentaries |
|
Definition
| second major tradition in documentary film |
|
|
Term
|
Definition
| explore different global cultures ad peoples (living and extinct) |
|
|
Term
|
Definition
| ('cinema truth') insists on filming real objects/people/events in a confrontational way (reality of subject acknowledges reality of camera recording it) |
|
|
Term
|
Definition
| (american cinema verite) more observational, less confrontational than french version |
|
|
Term
| personal/subjective documentaries |
|
Definition
| films that look more like autobiographical/diaries |
|
|
Term
|
Definition
| use documentary techniques to present a theatrical staging of presumably true events |
|
|
Term
|
Definition
| humorous approach to the question of truth/fact by using documentary style/structure to present and stage fictional realities |
|
|
Term
|
Definition
| more serious version of rockumentary |
|
|
Term
|
Definition
| ('kind') category/classification of a group of movies in which the individual films share similar subject matter and ways of organizing the subject through narrative/stylistic patterns |
|
|
Term
|
Definition
| repetition of formulas that help coordinate our needs/desires |
|
|
Term
|
Definition
-private models for producing other works
-to direct audience expectations
-to create categories for judging/evaluating a work |
|
|
Term
|
Definition
-fordism --> formula for creating movies
-studio era --> each studio had a certain niche |
|
|
Term
|
Definition
1948: paramount antitrust act
-film noir/blaxpoitation/fragmentation |
|
|
Term
|
Definition
new hollywood --> big blockbuster genres
-genres, special effects, large advertising budgets
-hong kong/bollywood |
|
|
Term
|
Definition
| properties/features that identify a genre (ex. character types, settings, props, etc) |
|
|
Term
|
Definition
| images/image patterns with specific connotations or meanings |
|
|
Term
|
Definition
| spiritual/psychological/cultural models expressing certain virtues/values/timeless realities |
|
|
Term
|
Definition
patterns for developing stories in a particular genre
-myths |
|
|
Term
|
Definition
| spiritual/cultural stories that describe a defining action/event for a group of people/community |
|
|
Term
|
Definition
| describe a viewer's experience and knowledge while watching a film that help to anticipate the meaning of particular conventions or direction of certain narrative formulas |
|
|
Term
|
Definition
| (1940s/1950s) religious spanish films |
|
|
Term
|
Definition
mixing different genres to make a fusion
-ex. rocky horror (musical + horror) |
|
|
Term
|
Definition
specific versions of a genre denoted by an adjective
-ex. slapstick comedy |
|
|
Term
|
Definition
1) characters with distinctive physical features
2) episodic narratives emphasizing gags
3) theatrical acting styles in which characters interact with mise en scene
-celebrate harmony/resilience of life
-social reconciliation
-comedia dell'arte
-slapstick, screwball, romcom |
|
|
Term
|
Definition
marked by physical humor or stunts
-ex. mr bean |
|
|
Term
|
Definition
fast-talking verbal gymnastics
ex. the hangover? |
|
|
Term
|
Definition
happiness first, humor second
romance will eventually overcome and lead to happy ending |
|
|
Term
|
Definition
travelogue of a recent but now historically lost period
1) male characters whose physical/mental toughness separates them from crowds of modern civilization
2)narratives follow quest into natural world
3) stylistic emphasis on open, natural spaces and settings
-epic, existential, political |
|
|
Term
|
Definition
| (1950s) traditional western hero is troubled by his changing social status and self doubts |
|
|
Term
|
Definition
| action/movement, developing a heroic character whose quests/battles serve to define the nation and origins |
|
|
Term
|
Definition
| (1960s/1970s) troubled territory of existential westerns; heroism associated with individual independence/use of violence |
|
|
Term
|
Definition
intensity of music + interaction of human conflict
1) characters defined by their situations/basic traits who struggle to express emotion
2) narratives relying on coincidences --> emotional climaxes
3) visual style emphasizing emotion/elemental struggle
-man vs. society
-physical, family, social |
|
|
Term
|
Definition
| physical plight and material conditions repress/control protagonist's desires/emotions |
|
|
Term
|
Definition
| elaborate the confines and restrictions of protagonist by investigating psychological/gendered forces of family |
|
|
Term
|
Definition
| extends melodramatic crisis of family to include entire community |
|
|
Term
|
Definition
songs support/punctuate story
1) characters act out/express emotion via song/dance
2) plots interrupted/moved forward by musical numbers
3) spectacular sets/settings
musicals vs. melodrama
-theatrical, animated |
|
|
Term
|
Definition
| situates the musical convention onstage of "backstage" |
|
|
Term
|
Definition
|
|
Term
|
Definition
1) characters with physical/psychological/spiritual deformities 2) narratives built on suspense, surprise, shock
3) visual compositions that move between dread of not seeing and horror of seeing
-supernatural, psychological, physical (slasher) |
|
|
Term
|
Definition
| spiritual evil erupts in human realms |
|
|
Term
|
Definition
| locates dangers and distortions that threaten normal life in the minds of bizarre/deranged individuals |
|
|
Term
|
Definition
| films about ghastly killings |
|
|
Term
|
Definition
1) characters who live on edge of a mysterious/violent society
2) plots of crime, mystery, ambiguous resolution
3) urban (dark/shadowy) settings
-gangster, detective, film noir |
|
|
Term
|
Definition
| (1930s) underworld criminal societies thriving in defiance of prohibition |
|
|
Term
| hard-boiled detective films |
|
Definition
| protagonist that represents the law (like a PI) |
|
|
Term
|
Definition
(!940s) elevates legal/moral/atmospheric ambiguity and confusion
-femme fatales
-weak men |
|
|
Term
| prescriptive approaches (to genre) |
|
Definition
model for a genre preexists any particular films
films deviate as little as possible from model |
|
|
Term
| descriptive approaches (to genre) |
|
Definition
| genre changes over time by building on older films and developing new ways |
|
|
Term
| classical genre traditions |
|
Definition
(prescriptive)
-places film in relation to a paradigm that remains the same over time
-fixed sets of formulas/conventions
-historical, structural paradigms |
|
|
Term
|
Definition
(classical genre tradition)
presumes that a genre evolved to a point of perfection at some point in history
one or more fils describe the generic ideal |
|
|
Term
|
Definition
| (classical genre tradition) formal/structural ideal that may or may not be seen in any specific film |
|
|
Term
| revisionist genre tradition |
|
Definition
sees a film as a function of changing historical/cultural contexts that modify the conventions/formulas of that genre
-generic reflexivity |
|
|
Term
|
Definition
usually self-conscious about their generic identity and clearly comments on such visual paradigms
ex. young frankenstein |
|
|
Term
|
Definition
| characters/crises/rituals of contemporary american youth |
|
|
Term
|
Definition
period films/costume dramas set before 1868 japan
-class unrest, social rebellion |
|
|
Term
|
Definition
depicts world of traditional folk values where love and family triumph over evil
-traditional german folk songs |
|
|
Term
|
Definition
systematic set of beliefs that is not necessarily conscious
-with new understanding of structures of representation in order to explain how people come to accept ideas and conditions contrary to their interests |
|
|
Term
|
Definition
| questions rational methodology and fixed definitions that structuralists bring to their various objects of study and includes thoughts of psychoanalysis, postcolonial, and feminist theory |
|
|
Term
|
Definition
imaginary: images
symbolic: language
real: real |
|
|
Term
| mirror stage (psychoanalysis) |
|
Definition
| infant comes to recognize itself as a human individual |
|
|
Term
|
Definition
| explores values built into film technology through particular context of its historical development |
|
|
Term
|
Definition
| using psychoanalysis to explain the mind's role in making sense of movies |
|
|
Term
|
Definition
vision of woman as "other" by attributing camera to the "male gaze"
-woman as image, man as bearer of the look
-MULVEY |
|
|
Term
|
Definition
| scrutinizes aspects of cinema embedded in everyday lives of individuals or groups at particular historical junctures and in social contexts |
|
|
Term
|
Definition
| focuses on how film is received by audiences,rather than on who made a film or its filmic/thematic features |
|
|
Term
|
Definition
| stresses that any act of perception involves a mutuality of viewer and viewed |
|
|
Term
|
Definition
| idea that filmic images refer to actual objects, events, phenomena |
|
|
Term
|
Definition
1) incorporates many other styles through fragments or references known as pastiche
2) cultural period in which political, cultural, economic shifts challenges tenets of modernism |
|
|
Term
|
Definition
suggest economic exploitation of black film audiences
-urban market likely to attend films about streetwise black protagonists
-black power movement |
|
|
Term
|
Definition
| reinforcing stereotypes of non-western people as simple, childlike, outside process of history |
|
|
Term
|
Definition
| films abandoned by owners or copyright holders, neglected |
|
|
Term
NICHOLS ESSAY
What types of documentaries are there? |
|
Definition
-poetic
-expository
-observational (direct cinema, cinema vérité)
-participatory
-reflexive
-performative |
|
|
Term
| poetic documentary (nichols) |
|
Definition
-modernism, avant-garde
-patterns that resist temporality, continuity
-mood/tone/affect over rhetoric
-alternative knowledge |
|
|
Term
| expository documentary (nichols) |
|
Definition
-argumentative/rhetorical
-'voice of god'
-values of objectivity, essay style |
|
|
Term
| observational documentary (nichols) |
|
Definition
-direct cinema, cinema vérité
-backlash against authoritative style of expository mode
-stresses non-interventive style of director (no voiceovers) |
|
|
Term
| participatory documentary (nichols) |
|
Definition
-rejects pretense that filmmaker's not there
-interviews
-overlaps with 'social documentary' |
|
|
Term
|
Definition
-includes role of filmmaker, difficulty of representation of medium
-self-conscious (questions realism and access to world) |
|
|
Term
| performative documentary (nichols) |
|
Definition
-stresses personal experience/embodied knowledge
-undercuts realism, conveys lived realities |
|
|
Term
| textual properties (Experimental film) |
|
Definition
-non narrative form
-avant garde
-demanding something of viewer
-reflexive |
|
|
Term
|
Definition
| reflect on material specificity of film medium and condition its experienced by audiences |
|
|
Term
|
Definition
| referring to an array of technologies |
|
|
Term
|
Definition
| identifies an attitude toward progress and science centered on human capacity to shape history |
|
|
Term
| 1910-1920 experimental film |
|
Definition
-dada/expressionist art movements
-soviet montage |
|
|
Term
|
Definition
-sound vs silent film
-personal film with 16mm |
|
|
Term
| 1950-1960 experimental film |
|
Definition
stan brakhage, andy warhol
-underground film
-gender/sexual politics |
|
|
Term
| 1968-after experimental film |
|
Definition
-narrative filmmaking and theatrical exhibition
-student unrest/anti-war/etc
-third world cinema (rejected norm) |
|
|
Term
|
Definition
-electronic video technology
-inexpensive video formats
-mtv
-video games and computer technology |
|
|
Term
|
Definition
| countercultural impulses of many US filmmakers of 1960s |
|
|
Term
|
Definition
| video game engines to modify computer animations, creating new narratives from the game worlds |
|
|
Term
|
Definition
| concerned with problems of form over issues of content |
|
|
Term
|
Definition
| formal experiments that are also nonrepresentational |
|
|
Term
| associative organizations |
|
Definition
| create psychological/formal resonances giving these films a dreamlike quality that engages viewers' emotions/curiosity |
|
|
Term
|
Definition
| link/associate different objects/images/events/individuals in order to generate a new perception/emotion/idea |
|
|
Term
|
Definition
| isolate discrete objects/singular images that can generate or be assigned abstract meanings - either those already given by culture or created by film itself |
|
|
Term
|
Definition
| reject illusionism of narrative film and challenge audiences' perceptions with a focus on material of the film |
|
|
Term
| participatory experiences |
|
Definition
| centrality of viewer and time and place of exhibition to cinematic phenomenon |
|
|
Term
|
Definition
| video and computer tech would allow moving image media to extend consciousness |
|
|
Term
|
Definition
recognizable imagery in strange contexts (mostly france)
-ETERNAL SUNSHINE~SPIRITED AWAY~ |
|
|
Term
|
Definition
| expresses emotions/beliefs/other personal position in films |
|
|
Term
|
Definition
| structure a film or media work through interrogation of its form, content, communication with viewer |
|
|
Term
|
Definition
encourage audiences to take up critical positions that expose them to formal experiements
(late 60s) |
|
|
Term
|
Definition
| images themselves taken out of a context were only way to transform society |
|
|
Term
|
Definition
employs confrontational style
-peaked during AIDS crisis |
|
|
Term
| experimental organziations |
|
Definition
1)associative
2)structural
3) participatory |
|
|
Term
|
Definition
| semiotics, structuralism, marxism, louis althusser |
|
|
Term
|
Definition
-C.S. Pierce, ferdinand de saussure
signifier + signified, referrent |
|
|
Term
|
Definition
claude levi strauss
-narratology, russian formalism, narrative analysis of myth, causality/diegesis |
|
|
Term
|
Definition
karl marx, Frankfurt school
-economics of society is scientific
-how people are put in different socioeconomical positions |
|
|
Term
|
Definition
|
|
Term
|
Definition
ideology 'hails' us back
-subjects of class relations
-national subjects
-gendered subjects |
|
|
Term
|
Definition
| the imaginary representation of the real relations in which we live |
|
|
Term
|
Definition
| films by north african/nigerian french people |
|
|
Term
|
Definition
1) theories of authorship
2) author as 'auteur'
3) La Politique des Auteurs (cinephilia, critical writing, genre, etc) --> 'metteurs en scene' vs. auteurs
4) influences of auteur theory
5) problems with author theory |
|
|
Term
|
Definition
STANLEY DONEN, USA, 1952
-studio era, genre film (musical) (MGM)
-mise-en-scene allows for theatrical mies-en-scene |
|
|
Term
|
Definition
ORSON WELLES, USA, 1941
-mise-en-scene, cinematography, the long take
-almost close to film noir but not exactly
-unlike most classic hollywood films --> unusual, inventive, complex narrative
-fragmented subject/self-reflexivity/multiple flashback narrative (modernist) |
|
|
Term
|
Definition
D.W. GRIFFITH, USA, 1911
-cross-cutting editing "narrativizes" the spaces
-editing enables narration
-unrestricted narration creates suspense |
|
|
Term
|
Definition
ALFRED HITCHCOCK, USA, 1959
-restricted 3rd person narrative
-work plot overtaken by romance plot
-continuity editing |
|
|
Term
|
Definition
SERGEI EISENSTEIN, USSR, 1925
-soviet montage --> discontinuity editing
-montage as DIDACTIC: art's task to make manifest the conditions of being
-montage as CONFLICT: from collision of two given shots/factors arises a concept
-also not about a singular character |
|
|
Term
|
Definition
FRANCIS FORD COPPOLA, USA, 1974
-sound is an integral part of the story and the plot
-little sound, but lots of depth of the perceptual sound of the main character |
|
|
Term
|
Definition
MAHMOUD-AL-MASSAD, JORDAN, 2008
-largely semi-observational/participatory?
-not ethnographic since filmmaker is part of the culture (not 'outside looking in')
-TV screen within doc is always contextualized via framing |
|
|
Term
|
Definition
KELLY REICHARDT, USA, 2011
-michelle williams <3
-an unusual type of wester --> revealing isolation and desperation of moving west rather than exploration and conquer as with traditional westerns
-sound mix is very quiet
-complication of gender hierarchies/ideology of settlement
-treatment of space, racial hierarchy, etc |
|
|
Term
|
Definition
NIKI CARO, NEW ZEALAND, 2002
-small Maori community
-local or universal narrative (global funding)
-branding New Zealand as "100% pure" for filmmakers to use as "Middle Earth" type places
-feminist within 'traditional' culture |
|
|
Term
|
Definition
LEGER, 1924
-relating machine to human body
-b/w, 11 min.
-repeating footage, abstract shapes, upside down footage, kaleidoscope effect |
|
|
Term
|
Definition
MAYA DEREN, 1943-1959
-'logic of a dream'
-idk man this was weird af |
|
|
