Film 2700 Week 3 Notes
Film 2700 Week 3 Notes FILM 2700
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This 4 page Class Notes was uploaded by Alexandra Graham on Monday February 1, 2016. The Class Notes belongs to FILM 2700 at Georgia State University taught by Ahmet Yuce in Winter 2016. Since its upload, it has received 27 views. For similar materials see HISTORY OF MOTION PICTURES in Film at Georgia State University.
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Date Created: 02/01/16
Film 2700 Notes 1/21 REVIEW: Etienne Jules Marey > photo-gun (birds), one plate; spatial continuity Eadweard Muybridge> 12 camera, 12 plates; logical continuity Today… Types of movie (stylistically) made in Black Maria Staged everyday events in theatrical manner Soundless (with the exception of “the violinist”, but it didn’t catch on because no syncing) Juggler, blacksmith, violinist No narrative, produced with intent of showing something only Desire to look at something you are a part of, but as an outsider Edison’s patent was only good for the US, which allowed in France… THE LUMIERE BROTHERS Invented cinematograph to produce cheap films for kinetoscope o Cinematograph could record AND project! o Closer to the cameras we know today than the kinetograph Examples: train coming into station, people leaving the factory 1895: first Lumiere Bros screening, Grand Café, Paris 1/26 Styles of Non-Narrative Early Film Directors Edison-Dickson: Staged everyday activies Studio (Black Maria) Theatrical, performances Static single shot, no cuts Think “Big Brother”, “American Idol” Lumiere Brothers: Real locations, real people Daily life as it occurs in real space and time Known as “actualities” Also static single shots, not cuts (usually) BOTH: non-narrative, static single shot, no cuts *Known as cinema of attraction: audiences interested in spectacle, not story; just want to see pics move Early Narrative Filmmakers George Melies (France) Magician, used cinema for magic Films known as “trick shows” One course of action, one static shot Diegetic backdrops, stage design Visual effects! Self-enclosed films o Everything happens in frame, no off-screen space referenced Examples: “A Trip to the Moon” (1902), “The Vanishing Lady” (1896) Contemporary cousins: sci-fi fantasy *BTW: sci-fi- based on logic of possibility; fantasy- based on logic of imagination* Edwin S. Porter (US) Impression of reality Omission of diegetic events o Economical story telling; some stuff’s just boring to watch! Not self-enclosed; reference to off-screen space “meanwhile” logic Mostly single course of action, single shot BUT some minor camera movement Example: “the Great Train Robbery” (1903) Contemporary cousins: westerns, “Goodfellas” 1/28 LAST TIME: Georges Melies: father of visual effects; progressive linear narrative Edwin S. Porter: “meanwhile” logic; minor camera movement **BOTH: continuity editing: Hollywood editing style; unonbtrusive cuts, camera movement, etc… whatever you do, DON’T MAKE THE FORMAL CHANGES OBVIOUS TO THE AUDIENCE TODAY: D.W. Griffith- father of narrative cinema; father of language of narrative cinema “Birth of a Nation” (1915), “Intolerance” (1916) *DW: cinema should combine art and entertainment ie: combine narrative complexity with continuity editing Pre-DW: one-reeler= a film no longer than 20 mins (one reel of film) DW broke this rule, made feature length films! Stylistic Aspects Invented by D.W. Griffith Interframe Narration -- Editing, relationship between frames o 180 Degree Rule! Camera should not cross imaginary line cutting 2 actors in half. 2 Ways of establishing Axis of Action (imaginary line) 1) Establishing shot: show everything in the scene from a wide angle so the audience understands everything’s position in space 2) Eyeline matching: if a character looks into offscreen space, in the subsequent shot you should show what they were looking at to establish space o Crosscutting 1) Cutting between two sets of actions taking place in different spaces at the same time (single common temporality, different spaces) 2) Same space at different times 3) Same place, same time, different sets of action 4) Different place, different time o Differing shot lengths : creating visual sentences Lengthy shot on a potato emphasizes its importance o Accelerated montage Length of shots, gradually number of cuts = tension! Useful in chase scenes Intraframe Narration: narration created by relationships between the elements in the frame (objects, characters, lighting); mise-en-scene and cinematography o Camera movement Pan: horizontal rotation of stationary camera Tilt: vertical, stationary camera looks up and down Tracking: follows subject, moving camera in stable route Travelling: follows subject, no stable route (probably handheld camera)
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