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Exam 1 Study Guide

by: asmith28

Exam 1 Study Guide CNPH 21400

Marketplace > Ithaca College > Film > CNPH 21400 > Exam 1 Study Guide
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About this Document

This is a comprehensive compilation of the first three lectures in order to highlight information needed to do your best on the upcoming exam!
Hollywood and American
Andrew Utterson
Study Guide
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Popular in Hollywood and American

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This 7 page Study Guide was uploaded by asmith28 on Thursday February 18, 2016. The Study Guide belongs to CNPH 21400 at Ithaca College taught by Andrew Utterson in Spring 2016. Since its upload, it has received 50 views. For similar materials see Hollywood and American in Film at Ithaca College.


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Date Created: 02/18/16
n o i s s e c c u s k c i u q n i d e y a l p s e g a m i s e t a t s e c n e i c S & t r A : s m u i d e m : r u c c o e p o c s a t i V e h t r e t f a l l u f s e e s a c i r e m A : s n o s a e r 2 r o f d i p a r o s Film Screenings: Eadweard Muybridge - (1877) Early ideals of motion capture Kinetoscope - (1894) Sense of familiarity (home films) A novelty “narrative” is introduced (see: seminary girls) Lumiere films - (1895) “documentarian” in style A sense of experience (for someone who has never seen the movement of a lion they now can) A Trip to the Moon- (1902) Introduction of the narrative Constructed (set,costumes,actors) Adds spectacle through editing Travelogue - (1897-1910) True documentaries —> Sense of experience (see early films) The Great Train Robbery - (1903) Film Language expands (narrative and editing) culturally more representative (compare: Trip to the Moon) Use of Planes of Action When the fourth wall is broken —> critics argue: genius or mistake? Corner in the Wheat - (1909) Emphasis on Acting (see: vaudeville) softer light (compare: Lumière) Depth of Field Symbolism more intricately woven into narrative (meta-narrative of cultural values) Musketeers of Pig Alley - (1912) More intricate set Words (written) are driving narrative Allows for a more complex story Space is being played with (see: going through doors to multiple connected locations) Heteronormative reconciliation (may form base for formulaic hollywood) **Disclosure: The above is based off of a subjective analysis of the films presented. Furthermore, it is used to exemplify the means by which the filmic language grew. Each film presented adds or builds off of the previous film analyzed. Films may contain multiple ideals but if discussed in a prior film the ideal is subject to isolation. ** Lecture 2 Notes: 3 “arcs” occurred during the first 25 years of the film industry (1895-1920) • 1.) Technological Arc • The 19th c. = Age of Invention • Photography, persistance of vision, flexible film, projection • Each invention thus leads to an industry Each became a distributor of an aspect of film • 2.) Industrial Arc (flexible roll film, projection, cinematic cameras, • Celig etc… could only be bought through one of these • Lubean men • Edison 9 companies in all • Became an effective monopoly • • Essentially because the industry grew so fast, no one could stop it Thus the MPPC is created • 1 Oct. 1915 supreme court ruled this illegal in: United States v. Motion Picture Patents Co. • 3.) Creative arc • People started to disagree with the MPPC • Independent filmmakers went out west to escape the MPPC • Laemmle est. first major studio (today: Universal) 3 S’s: • - Stars - Studios - Stories • D.W Griffith - • Creative leader of film industry - Both of a Nation - Intolerance Writes filmic Language - Way Down East - innovates camera aesthetic • CoA (Curve of Adoption) drives these arcs • CoA = 20 years Climate of Acceptance drives Curve of Adoption! —> • Immigration / large middle class • • (silent film = no language barrier / middle class had leisure time) • Technology D.W Griffith - • Born in 1875 in Kentucky to Southern Colonel • His filmic career was from 1908-1922 • 1914 = first feature! • BoN = First blockbuster Largest grossing silent film of…well…ever Intolerance = most “magnificent” film • • Sets were 300 feet tall and 1 mile in length • Way Down East • Lillian Gish - “best role” • grossed $7.2 milllion Lecture 3 Notes: Studios and Comedy — MPPC - Motion Picture Patent Corporation • Monopolized the technology aspect (thus the “patent” aspect) • Forced directors North (such as to Ithaca) & West (such as to Hollywood) i.e - The Wharton Brothers i.e - Laemmle This Forged the studios: • Studios (or the independents that created them) did 6 things the MPPC (and other trusts) did not 1. Made Features (NOT sold by the foot) 2. Established the Star System • Florence Lawrence The studios established these star’s • Mary Pickford identities and were able to sell more • Charlie Chaplin because of it • Theda “The Vamp” Bara 3. Formation of United Artists • First establishment of a group of artists able to form their own studio - Pickford - Fairbanks - Chaplin - Griffith 4. Moved West • They were able to escape persecution from the MPPC and other trusts 5. Motion Picture Palaces were built • you had to be making a lot of money in order to build these giant theaters - The Strand (1913, 18 years after the invention of film) - The Realto (1916, 21 years after the invention of film) - The Roxy (1926, 31 years after the invention of film) - “The Cathedral of film houses” 6. Shift in the audiences perspective on film • Everything listed above comes together to shift the perspective of “Novelty gag” to “industrial powerhouse” Impact of World War One European film industry is essentially gone during this period and it will take time to be • reestablished • 1918- 80% of European films being exhibited were American • 1925 - 95% of all European films being exhibited were American • The Studios thus became a world power on a two fold system: 1.) Export - Dominated exhibition in Europe 2.) Import - Brought stars in from Europe (such as F.W. Murnau) The Climate of the 1920’s • 2 Competing ideologies at play: 1. Liberation/Freedom • Women could vote People of color had more power than int he 19th c. • • Lawlessness from Prohibition 2. Censorship • Prohibition • Religious attitudes shift (Catholics made up the majority of filmic audiences) - The Response by Hollywood: 1. Return to moral values • Pickford / Fairbanks Gish • • Griffith (Way Down East) 2. Liberate freedoms • Theda Bara • Valentino • Clara Boe • DeMille (The Cheat) A series of scandals in and amongst hollywood lead to a lot of local censorship of films. This was particularly hard on directors as they did not know where their films could/could not be shown. MPPDA - Motion Picture Producers and Distributors of America • Established by Will Hayes • Hayes Code: Series of “Do’s” and “don’t’s” • • Breene Commission (post-code) • Very strict Studios begin to control…well everything: 1. Moral This is the beginning of Vertical 2. Financial Integration - or - the establishment of 3. Creative “The Studio System” Irving “Boy Wonder” Thalberg - Propelled “Studio System • Producer for MGM • Managed Stars • Read scripts • made schedule • “An economic engine fueled by personality” - Bohn The Golden Age - 1920-1930 Coined for it’s striking contrast of cinematic style in comedy • Originally: Comedy based on action & motion • • 3 revolutionaries: 1. Charlie Chaplin (Everyman) • Advances comedic narrative style • characters evolve through narrative and Gags aren’t the plots focus 2. Buster Keaton (Pessimist) • Gag focused • Did not advance narrative style Hardly Lloyd (optimist) 3. • Iconic for his comedic modernity • although lacked cohesive narrative structure (arguably had a better narrative than Keaton though)


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