Term
|
Definition
a preparatory device that helps to weave
the fabric of a screenplay together. (a line of dialogue, a character's gesture, a mannerism, a prop, a
costume, or a combo of these) |
|
|
Term
|
Definition
| the gesture, prop, or whatever takes on a new meaning. This resembles a poetic metaphor, when the plant takes on new meaning at the payoff |
|
|
Term
| Technique of planting and payoff |
|
Definition
Increase the audience's feeling of involvement, wrapping up a unified story.
Good idea to separate plants and
their payoffs with as much screen time as possible, or best to attempt to distract the audience from the plant with a major dramatic or exciting
event that takes its mind off the plant before the payoff. |
|
|
Term
| Double Indemnity plant and payoff |
|
Definition
| Walter Neff continually lights the cigars for Barton Keyes. relationship. At the end of the film, it is Barton Keyes who lights the cigarette of Walter Neff. This act symbolizes that the nature of their relationship has changed. |
|
|
Term
| Chinatown plant and payoff |
|
Definition
the repeated word “Chinatown” and those
things associated with Chinatown form the basis for the “plant”. It’s payoff is the interpretation given to the last
muttering of the word “Chinatown”. |
|
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Term
|
Definition
| judging phenomena of the past by standards, knowledge and conventions of the present |
|
|
Term
|
Definition
| a following, but also has a series of criteria |
|
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Term
|
Definition
1. El Topo (The Awkward Person)
2. Night of the Living Dead—George Romero
3. Pink Flamingos (dog shit scene)
4. The Harder They Come (the harder they fall)
5. Rocky Horror Picture Show
6. Eraserhead—David Lynch |
|
|
Term
|
Definition
sexual content sells most, common thread connecting people
Audience made movies, |
|
|
Term
|
Definition
1. Young (under 30)
2. Well educated |
|
|
Term
|
Definition
1. MM often arcane: something known only to those with specialized knowledge or
abilities
2. Violence—as anti-hollywood, hence anti-establishment
3. The freaks fight back—might remind someone of the beginning of gay liberation
movement as symbolized & manifested within the Stonewall Rebellion
4. Rejects are celebrated—travesties, deformed people, black people, poor people, etc.
5. Counter culture political and social concerns, class, race, sexual, preference, war |
|
|
Term
| Subtext and subtextual analysis |
|
Definition
1. linguistic subtext
2. conceptual subtext (film)
3. psychological subtext |
|
|
Term
|
Definition
Elements of meaning not communicated by the text alone
--body movements (language)
--intonation and volume
--other (environment, culture) modifiers: context and gender |
|
|
Term
| Conceptual subtext (film) |
|
Definition
those seemingly neutral elements which may obtain meaning, by
convention, consistency, and in most cases by analysis |
|
|
Term
|
Definition
seemingly neutral elements which may obtain meaning through the conscious or unconscious
mind of the audience: emotional rather than intellectual
often applied to music in a film—music informs without action |
|
|
Term
| Subtextual analysis requires |
|
Definition
--evidence or argument for subtext
--argument for reading that subtext in a particular fashion |
|
|
Term
|
Definition
| implicit and not explicit |
|
|
Term
|
Definition
| not seemingly neutral hence too obvious |
|
|
Term
|
Definition
1. black beehive wig, hair style
2. large breasts, sexually inviting
3. black clothing, sinister |
|
|
Term
|
Definition
| grandfather of scriptwriting |
|
|
Term
|
Definition
concept of the movie expressed in a nutshell – Alex Epstein
Not the summary |
|
|
Term
|
Definition
| The underlying question that the movie deals with –Alex Epstein |
|
|
Term
|
Definition
1. universal
2. about human concerns
3. neither trite nor too complex |
|
|
Term
| The Objective Correlative |
|
Definition
it is an external metaphor that stands for a characters internal or
psychological life—it may be an object, costume, action, etc—there may be more than one as the story unfolds
Internal state or psychological state |
|
|
Term
|
Definition
event that forces the movie to change or alter its direction
1—an event
which
2—forces a change of direction
In a character-based movie, the plot point may be subtle. In a plot-based movie, the plot point
may be less subtle.
Two plot points in a normal length movie. |
|
|
Term
|
Definition
beginning of a movie where the initial dramatic condition is defined
1—the main characters
2—the dramatic concept (idea)
3—the dramatic situation (physical)
The set-up usually will last no longer than one half hour (it can be very short) (one page per min) |
|
|
Term
|
Definition
very short set-up
Sequence of scenes connected by a single idea or manifesting a single idea
Cover a lot of time or space in a compact form
Montage within a scene—sequence of elements within a scene
Connected by one single idea |
|
|
Term
|
Definition
--Eye level—eye level camera—natural, neutral
--Low Angle—camera is down low, looking up—dominance and power
--High Angle—camera is above, looking down—lack of dominance or power, diminishing the
subject |
|
|
Term
|
Definition
type or class or variety, type of art that has a:
--Style
--Form
--Content
Should be easily recognizable… |
|
|
Term
|
Definition
| Western, Musical, and Film Noir (Crime Films) |
|
|
Term
|
Definition
and intense and painful feeling of repugnance and fear; terror
--Intense dislike, abhorrence, loathing |
|
|
Term
| The object of horror movie is to produce |
|
Definition
|
|
Term
| Two general sources for horror |
|
Definition
1—fables, myths, old wives tales
2—literature |
|
|
Term
|
Definition
|
|
Term
|
Definition
1—German Expressionist Silent Era (The Cabinet of Dr. Caligari) (Nosferatu) 2—The 1920’s in Hollywood (Phantom of the Opera, by Lon Chaney “Man with a thousand Faces”)
3-1930’s America
(Dracula Todd Browning?)
New Horror Characters
(Wolfman)
(Invisible Man)
(The mummy)
(King Kong) |
|
|
Term
| Horror images of and stories about |
|
Definition
Good/evil
God/non god
Mortality/Immortality
Life and its meaning |
|
|
Term
|
Definition
The expression of one's meaning by using language that usually signifies the opposite
typically for a humorous or emphatic effect |
|
|
Term
| historical sources Midnight Movie concept |
|
Definition
1—late night tv in 50’s and 60’s
2—the Elgin Theater in NYC |
|
|
Term
|
Definition
| 'Titicut' is the Indian name for the area surrounding Bridgewater, 'Titicut Follies' is the name of the charity show put on by patients and guards that opens and closes the movie. |
|
|
Term
|
Definition
| midgets, not dwarfs - midgets looked down on dwarfs |
|
|
Term
|
Definition
| Often male, but dress female |
|
|
Term
|
Definition
| Snake man, living torso, human caterpillar |
|
|
Term
| Daisy and Violet Hilton (Freaks) |
|
Definition
Siamese Twins
-tragic ending to their life
-source of little humor in freaks – marriage situation (come visit us..) |
|
|
Term
|
Definition
| no torso, walked on hands |
|
|
Term
| Josephine Joseph (Freaks) |
|
Definition
Hermaphrodite
-androgynous – both male and female parts
-most fake of any circus freak (hair cut a certain way on each side)
-often faked |
|
|
Term
|
Definition
Bearded Lady
-often faked (like Hermaphrodites) |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Circus trapeze artist Cleopatra marries midget Hans, then plots with strongman Hercules to murder Hans for his inheritance |
|
|
Term
|
Definition
-Are freaks different than us?
-Are freaks of nature human?
-Do freaks have a different moral code than ours? |
|
|
Term
|
Definition
-Dean of the horror directors
-Dracula
-Freaks is known as famous now
-Freaks ruined his career – banned in many countries |
|
|
Term
|
Definition
-Cultural admission
-We can't see past the deformities
-Midnight movies were a cultural reaction to this type of banning – we are willing to look at deformities |
|
|
Term
| The Hays Code : The Production Code |
|
Definition
-tells us what we can and cannot do
1) cannot lower standards of life - sympathy for wrongdoing
2) correct standards of life
3) law - natural or human - cannot be ridiculed |
|
|
Term
| Motion Picture Association of America (MPAA) |
|
Definition
| tells the audience what has been done |
|
|
Term
| The Legion of Decency Pledge (1934) |
|
Definition
1) Condemn: condemn indecent immoral motion pictures, and those which glorify crime or criminals
2) Protest: strengthen public opinion against the production of indecent and immoral films
3) Boycott: to stay away altogether from places of amusement which show them as a matter of policy |
|
|
Term
|
Definition
-Freaks doesn't follow the Syd Field 3 act layout
-Made up of 2 acts
-Banquet scene ends act 1
-Act 1 : melodrama
-Act 2 : horror |
|
|
Term
|
Definition
-introduce the freaks
-teasing and humiliation of freaks (Hans)
-men's greatest fear is humiliation
-the humiliation of Hans symbolizes the humiliation of all the freaks
-freaks show us the idea of humility, love, unconditional support/loyalty |
|
|
Term
| Cleopatra at the beginning of Freaks |
|
Definition
|
|
Term
|
Definition
| calling Cleopatra the “peacock of the air” (line of dialogue) |
|
|
Term
|
Definition
| Cleopatra's fall from peacock to chicken |
|
|
Term
|
Definition
Freda goes to Cleo and exposes Hans' inheritance
-changes the narrative
-how to get the inheritance – marry and kill Hans |
|
|
Term
|
Definition
-poisoning Hans
-humiliating Hans
-showcasing more freaks (that have not previously been seen)
-reasons for showing individuals rather than collective |
|
|
Term
|
Definition
overlap the ending of a scene with the beginning of another scene
-intended to:
1) shows the passage of time and/or space
2) show a relationship between those two scenes |
|
|
Term
|
Definition
1) some form of purification
2) some form of evil
3) it's raining |
|
|
Term
|
Definition
| Elizabeth Short - term derived from The Blue Dahlia—nightclub reference from the film noir, |
|
|
Term
|
Definition
| Carrie Laughlin, Brian Kessler, Early Grayce, Adele Corners |
|
|
Term
| Luck or Superstition in Kalifornia |
|
Definition
Lucky Street Grill
Carrie’s Prayer
Broken Mirror
Horseshoe Ring—Early wears the horseshoe upside as if to empty the luck out
St. Christopher
Church
Lucky Lager Beer |
|
|
Term
|
Definition
CA: Place of mythological past where dreams are fulfilled and opportunity abounds. California
is the level playing field, the rebirthing place for those who much hide from a failed past. Gold
rush, film industry ran from the cinema bosses of the east, good climate, etc.
KA: The contemporary illusion that CA still exists. For Early, it is where the first months’ rent is
free by state law, food grows on trees and is there for picking, and doors to new dimensions can
be found. Early dies on the border of CA at Dreamland Nuclear Test Site, forever closing that
door to KA. |
|
|
Term
|
Definition
when a filmmaker/writer uses a character/newspaper headline/etc that is there
to explain what needs to be explained as efficiently as possible without having to attend to them
in any extreme manner (organize the thoughts and information or to remind us of something)
IE: Brian’s voice over on the subject of serial killers |
|
|
Term
|
Definition
disregard for and the violation of the rights of others (EARLY)
No conscience, no guilt, no identification, no sympathy, no empathy. |
|
|
Term
|
Definition
| identify some similarity something in common |
|
|
Term
|
Definition
| — identify as something you understand within the world that you add emotion to |
|
|
Term
|
Definition
| you become the person—you feel the same things they feel |
|
|
Term
|
Definition
—a pervasive and excessive need to be taken care of that leads to submissive and
clinging behavior and fears of separation |
|
|
Term
Brian and Adele's similarities
(Kalifornia) |
|
Definition
-Both are dominated by their mate
-Both deny the reality around them
CHANGES TO:
-Neither denies the reality around them
-Both become more independent (Adele resists Early and Brian kills) |
|
|
Term
| Why does Early not allow Adele to smoke, drink or swear? (Kalifornia) |
|
Definition
|
She has to balance his impurity. He is obsessed with purifying himself and keeping Adele pure.
|
|
|
Term
|
Definition
| take a trip to California, get a new life |
|
|
Term
| Plot Point #1 in Kalifornia |
|
Definition
First murder in East Texas—Early kills the wealthy man in the gas station bathroom
Narrative change: Early takes over the trip, at least more than he already has, he comes out, he
starts driving and paying for the gas |
|
|
Term
| Plot Point #2 in Kalifornia |
|
Definition
| West Texas murder in the gas station—Early has essentially made them hostages |
|
|
Term
|
Definition
— named after Jack Foley—reinforcing a sound that is in the scene by reproducing
that sound on a foley stage |
|
|
Term
|
Definition
—comes from a database & it is prerecorded from somewhere else
IE: engines, explosions, and animal sounds |
|
|
Term
|
Definition
ADR—automatic dialogue replacement – used to replace or change the dialogue in the movie
postproduction |
|
|
Term
|
Definition
| —the adding of sound (simplistic definition) |
|
|
Term
|
Definition
|
|
Term
| Opening and Ending in Titicut Follies |
|
Definition
-opening scene: talent show they have every year
-ending scene: talent show (song - “so long for now”)
-fellini ending: cyclical, you've seen a slice of life, and tomorrow will be another day
-merry-go-round atmosphere |
|
|
Term
| Nudity in Titicut Follies |
|
Definition
– symbol for vulnerability
-practical means to eradicate individuality (functions as uniform)
-rid of defenses |
|
|
Term
| Those without power (incarcerated) acting out (Titicut Follies) |
|
Definition
1. do something to irritate those who have power over you (piss/shit on floor)
2. get the person of power to want/need something from you
Ex: Man in bathtub – reframes – says dirty bath water tastes like champagne |
|
|
Term
| Jim the Force feeder/starved man |
|
Definition
-hero of the film
-succeeds at starving himself
-cross cut of force feeding and burial preparations |
|
|
Term
|
Definition
– cutting between two (or more) scenes
-usually shows a relationship between the scenes
-usually happening at the same time |
|
|
Term
| Documentary Presuppositions |
|
Definition
1) Events have independent existence beyond the film. The world depicted is real, not imaginary (authenticity criteria)
2) The documentary filmmaker attempts to be truthful (objectivity criteria) |
|
|
Term
|
Definition
| a balance between the objective and the subjective |
|
|
Term
| 5-6 styles of documentary (Bill Nichols) |
|
Definition
1. Expository
2. Observational (Direct cinema)
3. Interactive
4. Reflexive
5. Performative |
|
|
Term
|
Definition
| -Omnicient voice over commentator |
|
|
Term
| Observational Documentary (Direct cinema) |
|
Definition
-No exposition
-No interviews
-Cinéma vérité (true cinema)
1. No directorial intrusion
2. No preconceived script
-Hence, the subject speaks for itself
-Forerunner of Reality TV (Cops)
-Heisenberg's Uncertainty Principle
-The act of measuring alters the thing measured
-Characterised by nonintervention of the film maker
-ie: Frederick Wiseman |
|
|
Term
|
Definition
Content based upon interviews
-Strong presence of the filmmaker (Michael Moore) |
|
|
Term
|
Definition
-Process of the making of the documentary becomes the main focus.
-The focus is how the subject is filmed, edited, and generally presented.
-Very close to interactive |
|
|
Term
|
Definition
-Docu-Drama
-Re-enactment |
|
|
Term
| Opening Scene (Blake Snyder) |
|
Definition
opening image establishes a fundamental before snapshot of the film
-sets an aspect of the film (tone, mood, location) |
|
|
Term
| Ending Scene (Blake Snyder |
|
Definition
-ending image establishes a fundamental after snapshot of the film
-opening/ending relationship
-ending image should be the opposite of the opening image so as to demonstrate change or transformation
-technique, not principle |
|
|
Term
| Visual Characteristics of the opening scene in Cutter's Way |
|
Definition
-begins in black and white, ends in color
-slow motion
-soundtrack is not the expected sound from a parade
-it is out of sync with normal experiences/reality
-analog of perception of reality – out of sync, unreliable
-what is real? Who is guilty? There is no evidence at all |
|
|
Term
| Directed state theory of perception |
|
Definition
-instead of merely two different interpretations of the same event,
-it is actually two different actual perceptions |
|
|
Term
|
Definition
| Bone is a witness or suspect in a murder case |
|
|
Term
| Plot Point #1 in Cutter's Way |
|
Definition
Bone identifies J.J. Cord as the murderer
-Cutter becomes active and tries to prove Cord is the murderer |
|
|
Term
| Plot Point #2 in Cutter's Way |
|
Definition
death of Moe
-direction change
1. From proof of guilt and blackmail to revenge
2. Changes/reemphasizes the principle protagonist from Richard Bone to Alexander Cutter
-Dramatic concept/question – from: “Will Bone witness against Cord through the influence of Cutter?” to “Will Bone assist Cutter in his efforts to kill Cord?” |
|
|
Term
| 3 possibilities to how Moe died |
|
Definition
1. committed suicide/accidentally set house on fire (death is her fault)
2. Cord killed her, meaning to kill Bone/Cutter
3. Cutter killed her |
|
|
Term
| Resolution in Cutter's Way |
|
Definition
| The killing of J.J. Cord by Bone |
|
|
Term
| The social triangle (the dramatic triangle) |
|
Definition
| in groups of 3, generally speaking, one individual will play the part of the perpetrator, another the victim, and another the savior |
|
|
Term
| Meaning of Name 'Bone' in Cutter's Way |
|
Definition
1. hard on, boner, sexual, principle talent is his Bone
2. has no backbone, runs away, no real hardships |
|
|
Term
| Meaning of Name 'Cutter' in Cutter's Way |
|
Definition
-Cutter – 1. wounded, cut
2. abrasive, aggressive, cuts through things |
|
|
Term
| Meaning of Name 'Moe' in Cutter's Way |
|
Definition
| neutral, in between two men |
|
|
Term
| Meaning of Name 'George' in Cutter's Way |
|
Definition
|
|
Term
| Meaning of Name 'Cord' in Cutter's Way |
|
Definition
1. umbilical cord, marina tied to him,
2. tied, power, ties everyone up |
|
|
Term
|
Definition
from Greek archetypos, meaning first of its kind
-original pattern
-blueprint from which other things of that type are reproduced |
|
|
Term
| Joseph Campbell's assumption of Archetypes |
|
Definition
1. All stories have common structural elements on both form and character
2. These structural elements are found universally in myths, fairy tales, dreams, folklore, et
3. Art reflects and employs these common structures |
|
|
Term
| General categories for archetypes as employed in storytelling (Tami Cowden) |
|
Definition
1. Core archetype
-a character that stays within the framework of one specific archetype
-superman – traditional concept of the hero – the hero does not change
2. Evolving archetype
-a character that begins the story reflecting one archetype, but who is transformed into another archetype as the story unfolds
3. Layered archetype
-a character that combines attributes of more than one archetype |
|
|
Term
|
Definition
became possible when culture became more sympathetic to vietnam
Noble grunt films admits that America's image is tarnished – admission that American is no longer the lone ranger and to many we are the bad guys – reflects America's disillusionment
-America's disillusionment in vietnam
-often shows an alienation at home (when they return)
-the hero becomes cynical and ends up achieving self-preservation
-question about phycological survival with no authority but a lot of responsibility |
|
|
Term
| Cutter's Archetype (Cutter's Way) |
|
Definition
lost soul with warrior attributes – opposite of Bone, reflect each other's inadequacies
-lost soul – tormented, filled with angst and passion, wounded in some way, yearns for what he cannot have/no longer has – Cutter may yearn to have the power of Cord, the love of Moe, the charm of Bone
-background of a lost soul: often a very deep wound in the past creates the lost soul
-angst – feeling of anxiety, insecurity
-accompanied by other psychological maladies such as depression
-note: not depression, depression may be the result of angst |
|
|
Term
|
Definition
what happened before the story began
1) should be short and
2) only involve what the audience needs to know for the present story |
|
|
Term
|
Definition
01. The Lost Soul Is tormented.
02. The Lost Soul Is Filled With Angst And Passion.
03). The Lost Soul Is Wounded In Some Way.
04). The Lost Soul Yearns For Something That The Lost Soul Cannot Have.
Virtue. Often Devoted or Commited To Projects.
Flaw. Often Fatalistic. |
|
|
Term
|
Definition
01. An Eye For An Eye Philosophy.
02. Committed And Loyal To His Friends.
03. Has Witnessed Injustice In Reality Or In Perception.
04. Cannot Forget The Wrongs Done To Him.
Virtues. 01.
Self-Sacrificing. 02. Always Faithful. 03. Committed (Goes Down With The Cause).
Flaws.
01. Rigid (Sees Only Black And White). 02. Believes That The End Justifies The Means. |
|
|
Term
|
Definition
a homeless child, especially one forsaken or orphaned
-In Cowden's context it is a female homeless child
-Selected characteristics of the WAIF
1) child-like innocence
2) not independent
3) can endure hardships, rescued
-Selected characteristics of the WAIF
1) pure and uncorrupted
2) kind
3) self-sacrificing
-Selected flaws of the WAIF
1) impressionable (easily influenced)
2) Passive (gives in rather than fight)
3) insecure (feels unimportant)
-THE WAIF – definition as applied to film narratived
1) damsel in distress
A) seemingly helpless
B) she is not a fighter, but she has the capacity to endure harship
-Moe is a WAIF (Cutter's way)
-Adele is a WAIF (Kalifornia) |
|
|
Term
| Cutter's way about 4 general categories |
|
Definition
| 1. Friendship, what connects Cutter and Bone: 1. an obscure past 2. love and desire for Moe 3. murder and its revenge 2. Reality and Illusion (beginning sequence eludes to this) 3. Morality 1. moral cowardice 2. moral strength 4. Class warefare |
|
|
Term
| Adele's Objective Correlative (Kalifornia) |
|
Definition
| yo-yo (incompetent -skills and personality- and being controlled by Early) and cactus (internalized desires) |
|
|
Term
| Early's Objective Correlative (Kalifornia) |
|
Definition
| toothbrush (always trying to purify himself) and doors (always looking for more doors) |
|
|
Term
| Some B-movie characteristics |
|
Definition
1) Low budget
-few to no special effects
-few to no elaborate sets
-few to no exotic locations
-few to no hollywood stars, except b-movie stars or end of career stars
-little time allotted to the filming (tight shooting schedule)
2) Genre script structure (probably most important characteristic)
-simple easily recognized scripts which depend upon:
1) characters
2) dialogue
-How can character and dialogue be emphasizes or reinforced in a B-movie?
1) few principle characters
2) confined space |
|
|
Term
|
Definition
1) stabilize the camera
2) offer freedom of movement
-Steadicam is well suited for:
1) moving camera shots in tight spots
2) camera shots over irregular terrain |
|
|
Term
| Cosmology of evil (Kalifornia and Citizen X) |
|
Definition
-nature or nurture?
-ontological (the study of existence -inherent in nature) or social conditions?
-Kalifornia
-begins with nurture but ends with nature
-Citizen X
-evil is a product of social conditioning – nurture
-since the Soviet Union has proper social conditioning, evil does not exist |
|
|
Term
|
Definition
| storyline, the plan, the scheme, or the main story of a literary or dramatic work, as a play, novel, short story, film. - blueprint for the narrative |
|
|
Term
|
Definition
A plot subordinate to the main plot
-Subplot usually carries the sex, romance, violence – what's in the advertisement |
|
|
Term
|
Definition
1) only 1-3 subplots
2) relate to the plot. It must serve the plot in some way. It may contradict the main plot. It may reinforce the main plot. It may provide some dimension (comic relief, tragedy, reality, ect.) to the narrative as a whole
3) beginning, middle, and end
4) subplot shot exist throughout the movie |
|
|
Term
| Citizen X beginning and ending |
|
Definition
-begin the movie with a tear (coroner - empathy)
-ends the movie with a tear (murderer - guilt) |
|
|
Term
|
Definition
Employing the square format reinforces the concept of neutrality or objectivity
-same with circle frame
-Vertical rectangle has an inherent psychological defect than horizontal
-ascending – strong
-you can either deny and resist or employ
-Horizontal rectangle (rectilinear horizontal)
-repose
-weakness
-laying down – not standing up |
|
|
Term
|
Definition
-upward (diagonally upward)
-struggle (defies gravity)
-downward
-inevitable |
|
|
Term
|
Definition
|
-”on the level”, “level with me” : honest
-”not on the level” : dishonest
-”straight” : direct, honest
-”not straight” : odd, queer
-straight is always symmetrical, balanced, has a middle
-right angles : upright, virtue, correct
|
|
|
Term
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Definition
| A system of beliefs, ideas or doctrines that form the foundation for political, social, economic, theological, and other systems. |
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Term
| Function of Ideology as presented by Linda Nochlin |
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Definition
| "...one of the most important functions of ideology is to veil the overt power relations obtaining in society at a particular moment in history by making them appear to be part of the natural, eternal order of things." |
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Term
| 3 principle themes of The Big Empty |
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Definition
1. opens with men's misunderstanding of female biology/menstruation
2. profit
3. metaphor for finding one's self |
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Term
| 3 definitions for the term Melodrama |
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Definition
1. Original general definition: Drama with music – think melody drama or drama with melody, literally means “play with music”
2. 19th century definition: drama that centered in a simplistic conflict between heroes and villains. Good and evil are easily defined
3. Contemporary definition: any emotional drama |
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Term
| 3 attributes of the Melodrama |
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Definition
1. A woman often dominates the narrative
2. Narration is from the perspective of the victim
3. Moral conflict is the principal theme or subject matter |
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Term
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Definition
1. Two people love each other and neither realizes it (Journey category)
- Love may not be the goal, but the result of the journey
2. Two people are in love and one doesn't realize it (Pursuit category)
3. Two people realize their love, but their love is denied by some great obstacle (Religious, political, class, etc.)
-Romantic Melodramas – forbidden love, most popular and successful form because: the obstacles are often enormous |
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Term
| Romantic comedy, Romantic drama, Melodrama |
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Definition
-Romantic comedy, the lover's conflicts make us laugh
-Romantic drama – make us cry
-Melodrama – could break our heart |
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Term
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Definition
the masculine side of a woman's personal unconscious
-The masculine psychological qualities that a woman possesses |
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Term
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Definition
the feminine side of a man's personal unconscious
-The feminine psychological qualities that a man possesses |
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Term
| Animus and Anima in Citizen X |
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Definition
-Fetsiov begins the film with an overly developed anima
-malleable, adjustable, appropriate submission
-Burakov begins the film with an underdeveloped anima
-At end – balance one another– Fetsiov is upset and yelling, Burakov is reserved |
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Term
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Definition
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Term
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Definition
| to overcome the restraints of the communist bureaucracy |
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Term
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Definition
| resolve pp #1 – hold the committee member hostage for being gay |
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Term
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Definition
| evidence and confession of serial killer |
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Term
| The real villain in Citizen X |
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Definition
| the communist bureaucracy – they deny serial killers exist |
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Term
| Burakov asks for (Citizen X) |
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Definition
1.computers
2.more men
3.access to FBI files
-going to the FBI is an admission that the Russians are behind the west
4.make killings public
-admits the crime exists |
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Term
| Objective Correlative for Colonel Fetsiov (Citizen X) |
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Definition
his uniform
-fake and empty symbol of status, emblem of status but not power
-he would like to become a respected/powerful/real man |
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Term
| Objective Correlative for Chikatilo (Citizen X) |
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Definition
the bag
-psychological baggage – deals with it via the knife – only an element |
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Term
| Objective Correlative for Burakov (Citizen X) |
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Definition
silence
-he must internalize |
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Term
| Citizen X triangle: Find the Killer |
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Definition
-perpetrator : comminist committee
-victim: Burakov
-savior : Colonel Fetsiov |
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Term
| Citizen X triangle: Killings |
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Definition
-perpetrator : Chikatilo
-victim: Russia
-savior : Burakov |
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Term
| Citizen X triangle: Psychologically wounded Chikatilo |
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Definition
-perpetrator : general outside psychological forces
-victim: Chikatilo
-savior : psychologist |
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Term
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Definition
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Term
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Definition
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Term
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Definition
| relationship between Colonel Fetsiov and Burakov |
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Term
| 3 arguments for Chikatilo sanity |
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Definition
-gauges out eyes of victims – the image of a killer is etched into the eyes of the victim, attempting to escape from his act – consciousness of unlawful nature of that act
-He lies to the police
-He shows remorse |
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Term
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Definition
| employment of humor, to ridicule and/or insult something |
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Term
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Definition
-Foundation for satire is truth
-Subject satirizes must be true or perceived to be true
-You don't satirize blue, if you're covering red |
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Term
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Definition
| observe, judge, analyze, not empathize, sympathize or identify (this may be true of all comedy) |
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Term
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Definition
-anticommunist paranoia (time period)
-mankind's lack of the ability to recognize the result of nuclear war. (ecology has replaces nuclear war in present day thought)
-male desire (nuclear annihilation may be worth it if we could copulate our lives away in some mine shaft) NOTE: with the most sexually desirable women
-blind faith in technology
-political inefficiency |
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Term
| 2 visualizations of technology (destructive power) |
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Definition
-Mad Max view – left with a depleted world, we're still here but the water is polluted/people are sterile/nothing grows, we become tribal and fight others at all cost (technology will not save us)
-2001 Space Odyssey view – when the earth is depleted we will go somewhere else – space, etc. (technology will save us) |
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Term
| Names of Characters (Dr. Strangelove) |
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Definition
1. sexual connotations or references
2. connection between war, sexual obsession, male sex drive |
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Term
| Jack D. Ripper (Dr. Strangelove) |
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Definition
-(Jack the ripper) English psychopathic killer. Sexual serial killer, killer in general
-ends up killing mother earth |
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Term
| Mandrake (Dr. Strangelove) |
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Definition
-A plant root associated with fertility or potency
-look up the symbolist painting
-acts wimpish – he begs |
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Term
| King Kong (Dr. Strangelove) |
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Definition
| a beast, primitive destructive lust |
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Term
| Buck Turgidson (Dr. Strangelove) |
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Definition
| male animal/stud … Turgid means swollen, bloated |
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Term
| President Merkin Muffley (Dr. Strangelove) |
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Definition
merkin: slang for female pubic area
-muff: similar |
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Term
| Ambassador Desadeski (Dr. Strangelove) |
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Definition
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Term
| Bat Guano (Dr. Strangelove) |
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Definition
| bat excrement (bat shit), crazy |
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Term
| Objective Correlative for Jack D. Ripper (Dr. Strangelove) |
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Definition
-Cigar as phallic manhood and its folly
-Phallic potence (the full erect cigar)
-Wasting away to ash (the flaccid spent cigar) |
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Term
| Buck Turgidson OC (Dr. Strangelove) |
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Definition
-Gum
-Infantile obsessive behavior, an attention to bodily pleasures |
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Term
| King Kong OC (Dr. Strangelove) |
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Definition
-Cowboy hat
-Naivete of Frontier Mentality |
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Term
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Definition
-wheelchair
-past failures, hope for the future through a faith in technology, someday they will find a cure
-strangelove standing up is a miracle
-does or can evil produce miracles |
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Term
| Threat of communism (Dr. Strangelove) |
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Definition
-Senator Joe McCarthy
-House UnAmerican Activities Committee
-U-2 Incident
-Francis Gary Powers
-The Berlin Wall – 1961
-Bay of Pigs
-Cuban Missile Crisis
-Fluoridation Conspiracy – strong bones and teeth – at what cost? - fight the power
-Bomb shelters – Civil defense – doomsday hideaway – mount weather
-The Arms Race |
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Term
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Definition
| Sane calls for disarmament, Mad is Mutual assured destruction. If both groups know they can destroy each other, neither will act, unless there's mad man who makes a rash decision |
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Term
| visuals in Dr. Strangelove |
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Definition
| Airborn B52's coupled together, having sex or breastfeeding– song “try a little tenderness” |
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Term
| opening credits (Dr. Strangelove) |
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Definition
-cartoony
-child-like/infantile
-cartoon stick text |
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Term
| Survival kit (Dr. Strangelove) |
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Definition
1. pistol
2. 9 packs chewing gum
3. several pairs of nylon stockings
4. miniature combination Bible and Russian phrase book
5. condoms |
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Term
| Kubrick discussing Dr. Strangelove - confront a man with nuclear alarm |
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Definition
-if you confront a man in his office with a nuclear alarm – documentary – the office is associated with humanity
-if the man is in living room at home and nuclear alarm – drama – living room associated with family
-man on toilet/nuclear alarm – comedy – toilet associated with individual |
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Term
| beginning and ending (Dr. Strangelove) |
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Definition
mushroom like orgasms – sex is always near
song - “til we meet again” |
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Term
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Definition
| maniac sends planes to Russia |
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Term
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Definition
| Planning with Russians how to stop attack |
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Term
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Definition
| Successful bombing of Russia |
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Term
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Definition
1.montage voice-over documentary style
-commentary on the nature of Casablanca within world events
-who wil be able to escape Casablanca?
2.the killing of the german courier and the stealing of the letters of transit
-who has the letters of transit? |
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Term
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Definition
| no man's land – all nationalities/a world at war – all predicaments/a world at war |
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Term
| Rick and Richard (Casablanca) |
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Definition
-Rick – cynical and jaded, aloof and mean “I stick my neck out for nobody”
-Richard – a sentimentalist, a romantic, the seed of a hero waiting to blossom |
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Term
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Definition
arrival of Ilsa
-focused switched from Rick's relation to Casablanca as the external free world
-to Rick's internal world (soon to be known as Richard)
1.unresolved love for Ilsa
2.extreme bitterness at her leaving him |
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Term
| Victor Laszlo (Casablanca) |
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Definition
-head of the underground
-important underground hero
-The cross of Lorraine – French symbol for underground/resistance |
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Term
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Definition
Ilsa says “you'll have to think for both of us”
-the dramatic change is the question what will Rick do?
-Rick's internal and external problems come together
-Ilsa's conflict: she's in love with Richard Blane, but she's devoted to the cause of Victor Laszlo |
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Term
| Two subtextual theories (Casablanca) |
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Definition
1.Casablanca as a political allegory
-Casa Blana: white house
-The conflicts over entering WW2 on the part of the USA
2.Repressed homosexual fantasy
-Rick rejects women for an honest, probably asexual relationship with a man
-Both Rick and Renault need companionship more than they need sex or love |
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Term
| Masculine psychological qualities of Rick (Casablanca) |
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Definition
| -strong, unbending, confident |
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Term
| Feminine psychological qualities of Renault (Casablanca) |
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Definition
| -flirtatious, adjustable, practical |
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Term
| Rick and Renault on politics |
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Definition
| Rick will remain neutral, while Renault will go with the winning side |
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Term
| Rick and Renault on women |
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Definition
-women universally desire rick
-Rick merits virtually any woman he wants, yet he does not seem to want any
-Rick does not seem to have extreme social/sexual confidence
-Renault can have virtually any woman he wants, but not on his own merit
-Renault is desired by no one
-Renault has a facade of social/sexual confidence |
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Term
| Summary of Rick's dilemma |
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Definition
| -Risk of losing everything (marriage) -Personal sacrifice (The saving lie) -all for a greater cause -the children |
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Term
| Europe, Casablanca, America |
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Definition
-Europe – hell
-Casablanca – purgatory
-American - heaven |
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