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FILM 2120 Jan 28 and Feb 1

by: Kay Patel

FILM 2120 Jan 28 and Feb 1 FILM 2120

Marketplace > University of Georgia > Fine arts > FILM 2120 > FILM 2120 Jan 28 and Feb 1
Kay Patel

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About this Document

It covers realism, authorial expressivity, and Film styles
Introduction to Cinema
Dr. Seiving
Class Notes
Film 2120
25 ?




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This 2 page Class Notes was uploaded by Kay Patel on Wednesday February 10, 2016. The Class Notes belongs to FILM 2120 at University of Georgia taught by Dr. Seiving in Winter 2016. Since its upload, it has received 20 views. For similar materials see Introduction to Cinema in Fine arts at University of Georgia.

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Date Created: 02/10/16
 David Bordwell on art cinema narration a. Realism  It speaks to ides to people who value art films  Films preserve lives as it really is 1. Objective realism:  React the things rather than make this happen  The way people are in real life  Psychology of characters is superficially related to the real psychology  Things happen to them  Example: L’avventura (1959, Michelangelo)  The goal is abandoned  Loose cause and effect and unclear motivation  Related to the fact that there is a non­oriented protagonist  Don’t have a clear relationship to the main plot  Leads to digression: shows life as it really is  Boring parts are not usually cutout compared to classic Hollywood films  Unrelated monologues are common  Lack of closure  Showing life as it really is  No clear­cut resolutions or answers to our problems  Major enigma that is left resolved 2. Subjective realism  The way people actually think, dream, or remember the past  Straight cut to a flashback without any sort of warning  Shows how people really remember things  It can cued by almost anything  Disruptions are often motivated by character psychology  Our minds go through a series of hypothesis and we ask question its reality and its perception of reality  Complete digressions that have nothing to do with the main plat  Object realism does not always work with the hypothesis and it makes us question the perception of the mental state of the character  Somethings come from the outside world of the story b. Authorial expressivity  When it is not subjective or objective realism  Go through three step process to understand the films 1. Question the reality and whether it shows life as it really is 2. Question the metal perception of the character 3. Question the writer/director  A lot of things happen in art films that do not have a comic purpose  Jump cuts: the music and everything is constant but the shots are not  Art films need to be interpreted in order to be understood  Why make films like this?  Product differentiation  Can’t beat Hollywood at its own game, therefore, they have their own set of  conventions  Cleo from 5 to 7:  Plot time is the same as the screening time A. Editing basics: transitions between slots  Film style: the unified, developed, and significant use of particular technical choices  4 categories of film style: editing, mise­en­scene, cinematography, and sounds  Cut: Instantaneous shot change: visible on the strip itself; one ends and the other one  begins automatically. It tends to imply a different temporal time between shots  Dissolve: superimpose one shot on to the next. It fades out  Wipe: Shot A is replaced by shot B through a boundary line  Fade: gradually lightening our darkening the shot B. Editing basics: relations between shots a. Graphic relations:  Independent of subject matter  Graphic match: refers to the linking of shots through graphic similarities.  Can also have a fematic function  Position of the figure of the frame is being matched, which are rare  Same degrees of camera movement, lighting etc…  Graphic contrast: The changes come when we move from the final shot of Scene  A to the first shot of Scene B  Different camera angle b. Rhythmic relations  Accelerated editing: a way to build tensions, shots are relatively lengthy in the  beginning, but then get progressively shorter  Manipulate the duration of shot to match a rhythm c. Temporal relations  A particular transition can imply a time relation   Order (flashback, flash­forward)  Usually linear  Duration  Temporal ellipsis: parts of events/story are omitted and are not necessary to  the plot (fades are often used)  Temporal expansion: opposite of ellipses. An event or action is prolonged  than it should in real life   Slow motions and cross­cutting to expand the time  Frequency:   Temporal overlap: used to show the same story in action. The same event  happens consecutive times in the plot and only once in the story.  Shows the importance of the idea of repetition d. Spatial relations


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