Cinema: History and Criticism, Week 4
Cinema: History and Criticism, Week 4 ENGL 212
C of C
Popular in Cinema: History and Criticism
Popular in Foreign Language
This 2 page Class Notes was uploaded by annazeberlein on Sunday February 7, 2016. The Class Notes belongs to ENGL 212 at College of Charleston taught by Dr. Colleen Glenn in Spring 2016. Since its upload, it has received 44 views. For similar materials see Cinema: History and Criticism in Foreign Language at College of Charleston.
Reviews for Cinema: History and Criticism, Week 4
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 02/07/16
Cinema: History and Criticism, Week 4 Mise-en-Scene – Creating the Visual World of Film - From the French term meaning placed in a scene o The scening (lighting, actors, costume, makeup, props, etc.) o A lack of editing or cinematography means that only mise en scene is left - Many places have a mise en scene, like a courtroom is structured for authority, a classroom is structured for learning - There is a key dimension, an iconic element of the movie experience o Costuming becomes part of a character (Bond’s suits and tuxedoes) - The foundation of mise-en-scene comes from the theatre (the basis of film even) from the beginning - Elements of mise en scene: how they all work together, how they all tell a story - Mise en scene is the most prominent way of presenting reality, realism o Realism, however, is not the measure of good films (Tim Burton) o We study the function though o Ex: German expressionism § Rejected scenic realism in favor of representing illogical forces in favor of a dark, eerie mood § Strange, unworldly, and unrealistic - Props o Instrumental – showed for their common function, like a chair o Metaphorical – symbolic meaning or purpose, like a cigar § Sometimes a chair is just a chair, a cigar isn’t always a cigar, but sometimes they’re both. Confused yet? o Cultural – a cultural or historical association, says something about the time period possibly - Staging o Actors embody and perform film characters through gesture, motion, and speech o Voice and body are the two main parts of an actors’ performance § How they look and sound changes how we interpret the character o Blocking turns actors into props - Acting o Naturalistic – the type of acting that feels realistic to us, the actor fully embodies the character that they play (i.e. method acting – bringing the actor’s own life into the acting of the film) o Stylistic – exaggerated gestures or voices for the sake of an enjoyable performance (cabaret, musicals, comedy) Double Indemnity (1944, Billy Wilder) - Film noir – film “black” (French) distinctly American style (not genre), usually urban crime/detective, but affected all genres. o Impressionistic lighting o Surreal setting (even somewhat) o Pessimistic mood (claustrophobic feeling) o Compositional tension instead of physical o Voice over narration o Complex order of events (usually not chronological) o Vertical or diagonal composition o Rooted in German expressionism o Named when French critics saw a lot of American films all at once after World War II, and they noticed a strange new mood of cynicism, darkness, and despair, reflecting disillusionment, anxiety, paranoia (post WWII, start of Cold War) - The role of happenstance/chaos – a cycle of events that can’t be stopped (he happens to stop by this woman’s house, and once he’s in her orbit, he can’t get out) - The voice over narration – used to explain things that action or dialogue can’t, like a fiction narrator - Why doesn’t he take the claims manager’s assistant job? o Fear of becoming Keyes o Greed ($50 pay cut) o Fear of a challenge o Comfortable where he is o It would have been beneficial for him to be Keyes’ right hand man after the murder, but he’s not up to it – he takes all these precautions for himself, but never investigates Phyllis - Greed led them to go for the double indemnity, casting suspicion on them
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'