Final Exam Study Guide
Final Exam Study Guide CIM204
Popular in History of International Cinema I
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Popular in Cinema And Media Studies
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This 5 page Study Guide was uploaded by Carmen Caruso on Monday December 21, 2015. The Study Guide belongs to CIM204 at University of Miami taught by Scott Eyman in Fall 2015. Since its upload, it has received 109 views. For similar materials see History of International Cinema I in Cinema And Media Studies at University of Miami.
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Date Created: 12/21/15
Final Exam 204 Outline Ch 6 American Cinema in the 19305 The Talkie Era O 0 00000 Sound was completely diff so at start silent stars were cast aside by studios for Broadway talent Dialogue made actors real it made movies more realistic and colloquial Street slang and behavior made censorship board uneasy 1922 Hays Office was formed in response to scandals Will Hays was hired by 12 companies for his political connections Hays self regulation with a list of untouchable subjects Rampant hypocrisy 1932 Depression hit Hollywood Pressure from the church and censor pressure groups 1934 Production Code administered by Joseph I Breen who worked with Hays and major companies agreed to only show films that passed Code was a lot any excessive violence was out no sex not even married couples no even saying sex hell or damn adultery or illicit sex can t be talked about or justified Basically with the exception of Lubitsch s subtler comedies this made the industry switched to more stylized genres to pass the code New Genres Gangster Pictures Musicals Screwball Comedy 0 Talkies led to popularization of gangster films gun sounds and stylized tough guy talk electric and disregard for society s conventions just like the post Depression people whose faith in banks and other institutions has been shaken Little Caesar 1930 with Edward G Robinson as title role of Caesar Enrico Bandello who works his way up then is destroyed by his own hubris Repeated in Scarface and Public Enemy 1932 and 1931 respectively Scarface directed by Howard Hawkes was written by Ben Hecht who s dynamic nononsense writing helped define comic and dramatic genres of the decade Public Enemy directed by William A Wellman and brilliant performance by James Cagney These movies defined the parameters of the genre guns and cars are everywhere women are props for passion or rage plots rise and fall ironic versions of American dream Freaks 1932 directed by Tod Browning with Olga Baclanova It s the story of circus people vs selfish and cruel normal people People hated it partly because they cast real circus people financial disaster critics hated it 0 King Kong 1933 directed by Ernest Shoedsack and Merian C Cooper Depression audiences wanted fantasy like this expert stop motion animation of Willis O Brien While there were many gangster films made around the same time as the big 3 the censors made a lot of fuss over the violence so many started becoming moralistic Genre branched out more liberal copsnew heroes Angels with Dirty Faces 1938 with James Cagney and Pat O Brien and directed by Michael Curtiz Cagney1930 feisty and disillusioned Warners actor battled for money and power First musicals just Broadway shows onscreen Ernst Lubitsch and Paramount father of the first film musical with The Love Parade 1929 The Merry Widow 1934 with Maurice Chevalier directed by Ernst Lubitsch has songs that were simply an extension of talking Busby Berkeley 189551976 was hired away from Broadway by Sam Goldwyn to stage Whoopee 1930 Style is more about the camera dancing than the people People more objects tons of dancers creating shapes Lullaby of Broadway Fred Astaire 18991987 all about performer not about camera Made 9 films with Ginger Rogers used dance as the metaphor for relationships Swing Time 1936 tribute dance in it Bo Jangles of Harlem to Bill Robinson and then two years later Astaire added slow motion to dance musicals The Gold Diggers of 1935 dances directed by Busby Berkeley moved pianos around into decorative patters he went to great effort to get vision Follow the Fleet 1936 with Fred Astaire and Ginger Rogers directed by Mark Sandrich Sound comedy is to wisecrack as silent comedy was to sight gag 19305 comedy like gangster films about snark and cynicism Mae West 18921979 a woman who liked sex and let people know it last actor manager on Broadway controlled her own career in movies too inspired Miss Piggy from Muppets thought she was gorgeous so movies were geared that way too Mae West moviesal about her strict enforcement of Production Code turned her into a conventional woman Carole Lombard 19081942 was beloved for her natural sexuality delicate satire and optimism Screwball comedies theme of world gone mad Twentieth Century 1934 written by Hecht with Lombard and John Barrymore two crazies and their humilations in their relationship Nothing Sacred 1937 about a reporter who takes a cancer patient who is misdiagnosed to see New York before she dies It Happened One Night 1934 more homely American values Duck Soup 1933 Marx Brothers directed by Leo McCarey was their most surrealistic assault on order and reason The Awful Truth 1937 by McCarey but it was soft neatly divides characters Comedies became more hopeful less harshness of post depression A Night at the Opera 1935 Marx Brothers directed by Sam Wood They were in opposition to their environments destroying conventions very dependent on writers Major Filmmakers O 0000 When sound was first introduced studios thought Broadway directors would be better problem was that it became 5th row viewing with 1 camera setup again Frank Capra 18971992 immigrant who loved America worked as gag man for Sennett collaborated with Harry Langdon working as a writer and then director sprung stories from archetypes w one bad guy who is vanquished While he is thematically a fabulist dealing with idealistic themes in terms of style he s a realist While most Capra films are sugar coated fairytales there are some darker ones Mr Smith and It s a Wonderful Life were edgy and starred James Stewart who gave impassioned desperate performances popular with audiences but divided critics No unhappy endings in Capra world WW shook his faith It s a Gift 1934 with WC Fields directed by Norman McLeod For Whom the Bell Tolls 1943 with Gary Cooper directed by Sam Wood Mr Smith Goes to Washington 1939 with James Stewart directed by Frank Capra It s a Wonderful Life 1946 Capra s fav film Stewart s too Capra Steiner and Tiomkin at the music scoring session for Lost Horizon 1937 By 19305 music underscoring was accepted Steiner Tiomkin and Enrich Wolfgang thickly orchestrated thematics that could make bad films watchable good films great Lubitsch the bomb director of the time champaign cinema with witty attractive people coupling and gracefully uncoupling Even took over as production chief of Paramount only of this era and one of few ever which started tradition of comedy Most pop comedy was Ninotchka the film famous for Garbo laughing To Be or Not to Be 1942 was last Carol Lumbard film and best Jack Benny tribute to live theater Slammed by bad taste he was ahead 0000 of his time with black humor best comic satire over Chaplin s own attempt at mocking the Nazi s The Great Dictator of 1940 William Wyler The Ten Year Man 1936 to 1946 who had done program pictures before this time Came to fame with Dodsworth 1936 a man going through mid life crisis no particular hookjust people asking why they re not happy starring Walter Huston Made Dead End 1937 then Jezebel 1938 Wuthering Heights 1939 The Letter 1940 and The Little Foxes 1941 Then did a propaganda picture and two war documentaries Then did his masterpiece and epic about American middle class The Best Years of Our Lives 1946 Most made with producer Sam Goldwyn and cameraman Gregg Toand Style evolved lengthy takes deep focus few closeups reduced cuts organic ebb and flow as opposed to buildup to climax took tons of takes to get it right Wyler s style was loved by European theorists as the alternative to conventional editing championed by Andre Bazin Key single detail that made the scene come alive Emotional authenticity and mood all important Fav material was psychologically oriented character studies Amer audiences grew out of him but internationally his reputation remained constant The Little Foxes 1941 with Bette Davis directed by William Wyler Davis famous for playing women who refuse to allow wis to be thwarted gestures decisive and sharp fast speech attack life Here her character is like that but setting American South forced it internally Costume pulls her in whitened face like a mask The Heiress 1949 with Ralph Richardson directed by William Wyler deep focus more objectivity edited would prob include a ton of closeups but here there s empty chairs and tables to encourage the viewer to see loneliness Howard Hawkes 18961977 for most of career worked as producer director with good financial success and industry and critical reputation as a skilled craftsman canonized by Europe started out as an engineer logical methodical films about guys like him competent self possessed First got recognition with The Dawn Patrol 1930 then came into himself with Scarface his own favorite despite lengthy German expressionist opening shot Women in his movies are independent and somewhat masculine just as gutsy as men Compared to Hemingway Hawkes movies are about what they re about grace under pressure mostly 19305 he made screwball comedies Twentieth Century and Bringing Up Baby 1938 OOOO treated everything equallyjust made comedies faster Made only five westerns but like Red River and Rio Bravo are considered up there same feel though concise with ultimately triumphant characters Narrow talent he did what he did extremely well and rarely deviated from what he was good at Scarface 1932 with Paul Muni and Ann Dvorak directed by Howard Hawkes Tied up for 2 years by censorship about unhinging Tony Camonte whose paranoia and lust for his sister cost him everything Red River 1948 with John Wayne Montgomery Clift and Walter Brennan directed by Howard Hawkes created contrast btwn Wayne s catlike grace and small coiled intensity of stage star and tension Kick stared Wayne s career John Ford 18951973 an Irishman career over 50 years created oervre films of rough simplicity with characters who could be big or small captured beautiful landscapes with lyricism themes of family duty and stubborn individualism Attracted attention with The Iron Horse 1924 an epic western of railroad He could direct anything Initially influenced by Griffith then took some cues from Murnau Camera was an information booth kept still so characters moved foten deep focus painterly compositions Hit stride in 19305 Judge Priest 1934 The Informer 1935 with Victor McLaglen directed by John Ford When he worked with Irish Catholic subjects lighting was moody and expressionistic thick drifting fog confusion and isolation most sympathetic to cameramen Film about a man who destroys own life because of a few silver pieces Hailed as one of the most original films 19391940 directed 5 great films Stagecoach Young Mr Lincoln Drums Along the Mohawk and the Grapes of Wrath and The Long Voyage Home Stagecoach 1939 with John Carradube Andy Devine George Bancroft Claire Trevor and John Wayne directed by John Ford where he creates a surrogate family of strangers She Wore a Yellow Ribbon 1949 directed by John Ford Ford was a master of the epic extreme long shot Since Stagecoach shot most of pictures in Monument Valley Camille 1936 with Greta Garbo and Robert Tayler directed by George Cukor Gone with The Wind 1939 with Clark Gable and Vivien Leigh directed by Victor Flemming The Searchers one of Ford s greatest later films
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