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Week 1 Notes

by: Katie Schnepf

Week 1 Notes PH 159

Katie Schnepf
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Philosophy and Film
Class Notes
Philosophy Film




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This 3 page Class Notes was uploaded by Katie Schnepf on Monday February 1, 2016. The Class Notes belongs to PH 159 at Boston University taught by in Spring 2016. Since its upload, it has received 44 views. For similar materials see Philosophy and Film in PHIL-Philosophy at Boston University.

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Date Created: 02/01/16
Week One Notes  1/22/16  ● Film Origins:  ○ Cinema came from photography  ○ Influential people in film:  ○ Janssen  ■ Wanted to videotape Venus’ orbit  ■ Opened the shutter for 5‐10 mins  ○ Maybridge  ■ Took serial photography of animals/humans etc  ■ Famous running horse montage  ○ Marey  ■ Put multiple serial photograph on one negative  ■ He designed a “film gun”  ○ Lumiere Bros (1895)   ■ Directed the first publicly screened film  ■ Train arriving at station  ○ Early film was shot documentary style  ● 2 types of editing:  ○ Continuity editing: shows what happens next  ○ Parallel editing: shows what is happening at the same time  ● Cousins, Story of Film (movie)  ○ Early filmmakers tried to find their way around technical problems (they still do)  ○ Shots  ■ Close up  ■ Insert  ○ Editing  ○ 180 degree line  ○ Eyeliner coordination  ○ Film is driven by technical limitations  ■ Ex. The Black Mariah  ● A house built on a turntable  ● Studio  ● No roof  ○ Allowed for light to come in  ● Tableau Film:  ○ Shot a room with the camera in a fixed location  ○ Followed movements of actors (groups of people)  ○ Theater‐style  ○ Whether someone was a good guy/bad guy was shown through exaggerated actions  ● The Pickford/Gish/Griffith Acting Style:  ○ Focused on specific characters rather than the scene as a whole  ○ Close ups led to a more modern style of acting  ○ DW Griffith pioneered this new style  ■ Provided insight to thoughts/feelings of actors  ○ Mark Pickford  ■ New York Hat (1912)  ■ One of the first “movie stars”  ■ Audiences felt connected to the actors    1/25/16  ● What is a shot?  ○ Fundamental unit of film (like a sentence in prose)  ○ Types of shots determine audience’s response  ○ Types of shots  ■ Purpose‐establishing, POV, pillow (cut‐in; not in main action)  ■ Lens/Appearance‐wide angle, depth of field  ■ Camera Motion‐tracking, handheld  ■ Content‐single, 2 shot, 360, slo‐mo  ■ Distance‐long, med, close up  ● How do you define a shot?  ○ Single camera view which ends when a cut is made  ○ Kind of shot=how and what type of camera view it is  ○ If 2 camera views are side by side, is it 1 or 2 shots?  ○ Something presented in a continuous manner on screen  ○ Blue: directed by a man who went blind from AIDS  ■ Entire film is blue  ■ Shot must be connected to larger story (beg, mid, end)  ○ Structured viewing experience  1/27/16  ● How do you define different genres of film?  ○ Ex. Film noir has changed as time goes on  ● Take Away: a shot is not easily defined  ○ Single v. double view, for ex. (counterexample)  ○ Not intuitive  ○ Presented in a continuous manner   ○ Structured  ● Framing/Edges:  ○ The way shots are composed (framing etc) helps structure the viewing experience  ● 2 Ways to Structure a Shot Experience:  ○ Film system  ■ High quality  ■ Information isn’t handed to you  ■ Subjects moving across frame  ■ The Searchers  ● Often, a sound off screen will motivate a cut  ○ TV System  ■ Low quality   ■ Centered shot  ■ Information freely spoken  ■ CSI  ● All shots are centered/close up 


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