Film 2700 Week 4 notes
Film 2700 Week 4 notes FILM 2700
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This 2 page Class Notes was uploaded by Alexandra Graham on Saturday February 6, 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 56 views. For similar materials see HISTORY OF MOTION PICTURES in Film at Georgia State University.
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Date Created: 02/06/16
2/2 REVIEW: Edwin S Porter AND Georges Melies: continuity editing, linear narrative progression, single course of action-single static shot (for the most part) TODAY: DW Griffith Language of Narrative Cinema, CONT’D 1) Interframe narration (mutual interactions between frames) (aka EDITING) a. 180 degree rule (director’s line, axis of action) i. Eyeline matching ii. Establishing shot b. Cross-cutting i. 4 versions (see last week’s notes) c. alternating shot lengths i. construct visual sentences d. accelerated montage i. boost tension! Ex: chase scenes 2) intraframe narration (mise-en-scene and cinematography) a. camera movement i. pan, tilt, travelling, tracking b. camera angles i. low angle- powerful ii. high angle- inferior c. acting i. Griffith: movie acting and theater acting are DIFFERENT! 1. Continuous vs interrupted performances 2. Theater= single perspective, film= changing perspective 3. Close ups mean exaggerated acting is TOO MUCH! d. Expressive use of lighting i. Manipulating time (light for day, dark for night) ii. Manipulating emotion (dark= negative, light=positive) e. Showing multiple actions in a single frame i. War movies, epics 2/4 GERMAN EXPRESSIONISM 1920’s Germany Post-WWI, Germany the loser Loss of belief in national identity and government Year after WWI: almost 1 million people die of malnutrition; poverty rampant 1920: The Cabinet of Dr. Caligari (Robert Weien)- first German Expressionist film! German Expressionist characteristics: Fantasy fictions Artificial set design Non-realistic Intention of making the psychological visible Scholarly Approaches to GE 1) Zeitgeist (n, spirit of the period in a specific culture) a. Film style determined by social-political context b. Reveals mental condition of 1920s Germany c. Foreshadowing of Hitler 2) Escapism a. Social-political truth indirectly influenced style b. Escape into reams, prevent from facing trauma of era 3) Mix of 1+2: Zeitgeist but overdetermination is not the cause! a. Influenced by social-political context, but not overdetermined! No absolute relationship between the two b. Escapism doesn’t make sense—why wouldn’t they make comedies instead? c. Purpose: reveal psychological conditions (zeitgeist) by means of recontextualization i. Films say something about war but not about war *Paradox of GE: non-realistic/fantasy/artificial…BUT relationship between zeitgeist and film style Stylistic Aspects of Dr. Caligari: Distorted space/ shallow field of depth Stylized acting Thick, dark makeup and costumes Robotic movements (zombie-like) Oblique angles Darkness (chiaroscuro: contrast between light and dark***)
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