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by: Anu

6_World_Film.pdf FILM 2332


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Red Nightmare Film Invasion of the Body Snatchers Film
Understanding Film
John Petty
Class Notes
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This 4 page Class Notes was uploaded by Anu on Thursday July 14, 2016. The Class Notes belongs to FILM 2332 at University of Texas at Dallas taught by John Petty in Summer 2016. Since its upload, it has received 5 views.


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Date Created: 07/14/16
World Film RED NIGHTMARE Director: George Waggner Cast: Jack Webb (narrator) Jack Kelly (father) Pat Woodell (daughter) Jeanne Cooper (wife) NOTES:  1962  original title: Freedom by you  1942: mission to moscow- pro communism (WWII allies)  used famous people o did not make any money o save reputation  dehumanize Russian people o stereotyping  communists expect citizens to accept their "truths" without questions INVASION OF THE BODY SNATCHERS Director: Don Siegel Cast: Kevin McCarthy (Dr. Bennell) Dana Wynter (Elizabeth) Larry Gates (psychologist) NOTES:  1956 - cold war  remade in 1978 (still cold war) o dehumanization of people living in urban environment  largely sci-fi film  limits special effects and fantastic imagery  Seigel - guerilla filmmaking o used friends o B artist  Reno (place) liberal divorce laws o interpreted as:  communist invasion  backlash against HUAC  vegetable metaphor: growing communism  Rorschach Plot o structure upon which we can imprint our own interests and biases upon the story in order to discover meaning in its ambiguity LECTURE:  1895- motion camera equipment  latin american  british  cinema -- hong kong cinema, taiwan  bollywood  Nollywood (nigerian) German expressionism Italian New Realism French New wave I. GERMAN EXPRESSIONISM  end of WWI, germany in shambles  unemployment  Treaty of Versailles o Disarm o give up land o pay war reparations  nationally subsidized film conglomerate (UFA) o produce high quality films o enhance their reputaiton  UFA had resources, directors/ producers o outside did not  no electricity  modernist movement in other arts, developed in poetry and painting in early 20th cent. o sought to express meaning and emotional reality rather than physical reality o positivism, Naturalism  STYLE o unexpected and unusual angles o stark contrast of light and shadow  CHIAROSCURO LIGHTING= intense dark next to intense light (dramatic) o artificial/ stylized sets stripped of all realistic detail  sets become symbolic diagrams of emotional statse o overly theatrical acting and heavy make-up o integration of mise-en-scene to create overall composition  GOALS o bring out "essence" of object/ person o express subjective view point (esp. of director) o alienation, mystery, disharmony o about threating outsiders o film becomes art when there is difference between film and reality o radically detach themselves from everyday world  example: The cabinet of Dr. Caligari  maddness and insanity  stylization used to express distorted view of madman  examples: The golem (1920)  Nosferatu (1922)  Waxworks (1924)  Der Niebelungen (1924)  Metropolis (1927) - UFA Film  LEGACY o emigrated to america to escape Nazi regime, bringing aesthetic with them o direct influence on american horror films o filming aethetic techniques --> Film Noir o greater emphasis on mise-en-scene II. ITALIAN NEW-REALISM  political movement to portray reality in italy  massive historical epics  1922: Mussolini takes power (until 1943) o injects lot of money in industry  1936: producing propaganda films o "white telephone" films present upscale image of Italy o conforms to govt. ideal  1938-1945: american films banned in italy o popular culture still valued  cinema of distraction o white telephone o historian epics o realist style  REALISM o left and right wing politics o considered rural and literary o NEOREALISM= unliterary and unrural  after WWII: transformation o sets dismantled and increase in poverty o early new-realists had to finance their own films o beginning of movement  directors, writers, actors worked together  film stock not readily available  low budget gives it authenticity  hallmarks of new-realism  1. shooting on location 2. filming with available natural light 3. focus on contemporary issues 4. non-professional actors 5. bleak world-view, not entirely pessimistic  discarded narratives  more emphasis on improvisation  example: rome: open city  italian resistance  bicycle thieves (1948)  early 1950s: new-realism declines o american films imports increased o govt. saw NR as Marxist o places italian film industry under state control III. FRENCH NEW WAVE  intellectual movement (not political/ poverty)  aesthetics that prioritized filmmakers theory  cine-clubs flourished (post war) to discuss films  film journals emerge o "Cahiers du cinema"  emergence of camera stylo o filmmaker writes with camera  Andre Bazin- Phil. Leader o calls for "objective realism" in films o filmmakers should efface presence from visuals  1954: Francois Truffaut article for Cahiers ***** o the Auteur Theory o attacked post war "tradition of quantity" films o dialogue and plot heavy were largely works of screen writer o nouvelle ___ (New Wave) films o new approach to filmmaking 1. small subjects 2. subjects personal to filmmaker 3. realism without suggesting that story itself is real 4. awareness of cinematic history 5. appeal to young, cine-literate audience IV. NEW WAVE FILMS  independent produced shorts  400 Blows (landmark film)  typically favor: 1. elliptical editing  when action on screen is actually shorter than it would naturally be 2. jump cutslack of transitional scenes  destroy temporal and spatial continuity 3. handheld cameras 4. location shooting 5. natural lighting 6. improvised plot and dialogue  active 1960-70 contd. to st century  LEGACY o influenced new american cinema movement of 1960s  Bonnie and Clyde (1967) o influence generation of young filmmakers END OF NOTES


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