Experimental Film Notes and Analysis
Experimental Film Notes and Analysis ENG260
Popular in Media Aesthetics
Popular in Foreign Language
This 4 page Class Notes was uploaded by Shea Durkin on Sunday April 26, 2015. The Class Notes belongs to ENG260 at University of Oregon taught by Caroline Clairborn in Spring 2015. Since its upload, it has received 70 views. For similar materials see Media Aesthetics in Foreign Language at University of Oregon.
Reviews for Experimental Film Notes and Analysis
Report this Material
What is Karma?
Karma is the currency of StudySoup.
Date Created: 04/26/15
Tues 042115 Media Aesthetics Class Notes Sounds are a feature New genres came out romantic comedies being able to capture and hear back and forth new writing Challenging Form Experimental Film and New Media 0 Distinguish from narrative and documentary film Focuses on formal and aesthetic properties images in motion Commonly re ect on material specifically of the film medium 0 Nonnarrative Lack welldefined characters or plots some refusing plots antinarrative O 0 Nonrealist 0 Hollywood realism 0 History lis Modernity broad period of history from the Medieval era to the present and identifies an attitude toward progress and science centered on the human capacity to shape history 0 ie WWII is Romantic and Aesthetic traditions irrational vs rational thinking L Modernism early 20th century philosophy thought and art that emphasizes the discontinuities and rhythms of modern life particularly in uenced by the jarring impact of WWI the first industrialized war Is Modernist Themes 0 Machines Industry amp Technology dynamic motion Accelerated and Disjunctive Time Cities amp the Urban Spatial Juxtaposition and Fragmentation War Chaos Confrontation Assault 0 Invention and industrial use of film In European AvantGarde Movements 0 German expressionism 0 France cubism O Impressionism from China 0 Human forms as aesthetic objects rather than subject In The Postwar AvantGuard in America 1950 s60 0 Stan Brakhage manipulated the film stock physically by painting scratching and taping 0 Underground film In Political and experimental 0 Documentary truth is questioned ie re exive narratives O O O O 0 Third Cinema spurred by decolonization movements the Cold War It New media and technology 0 0 Consumer video formats Digital and interactive formats lis Narrative experimentation and abstraction O Formalism Concerned with the problems of form over issues of content I Exploration of the qualities of light the poetry of motion the juxtaposition of sound and image and inquiries into ways of seeing motivate formalist experimental filmmaking Is Experimental Film Traditions O Expressive Traditions Emphasize personal expression and communication with an audience and are tied to longstanding notions of artistic originality authenticity and interiority Confrontational Traditions Rooted in Modernism of 1920s and often related to the urge to shock the middle class 0 Motivated by change and interaction with real world events in contrast to Expressive traditions of personal or individual artistic expressivity and instead stresses the confrontation of conventions audiences expectations or associations in a wider social political or aesthetic critique It Styles and perspectives O 0 Film M 1931 Director Fritz Lang Surrealism Uses recognizable imagery in strange contexts which simultaneously defies realist tendencies and narrative instead emphasizing photographic reproduction and images unfolding in time France 1920s Lyrical Styles Express emotions beliefs or personal positions with film often by emphasizing a personal voice or vision through techniques like unique imagery voiceovers or handheld cameras often autobiographical Postwar US Critical Positions Structure a film or media work through interrogation of its form content or communication with the viewer These films encourage audiences to take up similar critical positions by exposing them to formal experiments that demand that viewers question how not just what they are seeing rooted in social critiques of 1960s The beginning of M started with eerie dialog of little kids chanting about a murder as they played a game in a city center Fritz sets the scene well The long shots that panned around the scene showed tall buildings that gave a vastness to the city that re ects the long hunt to find one man A woman shouts at them suddenly for silence so she can be in peace Another woman says At least as long as they sing we know we are still there This is a foreshadowing of the importance of sound in the film The sense of hearing is what gives the child murderer away just as the lady suggested that she would know the children were gone if she didn t hear anything Sound is also used in the story when Elise s mom comes to the door when she hears footsteps running up the stairs The lack of the sound of Elise coming up the stairs after a while suggests a problem to the mother The time the movie takes place and was filmed effects a lot of the plot and the sounds First of all the story makes sense because it was before the time of being aware of stranger danger Second the sounds re ect the time the film was made giving it a mysterious element Sounds were a feature of this film at the time which makes it a classic Editing features such as montage enhance the fact that this is a film but it also tells the story Fitz had to work with what he had during those times and it is likely that it was not easy However the time period in uenced the experiments that were used in this film with sound and visual representation There were many crowd scenes and I know that they were not just placed on set randomly Camera positions and angles gave authority suspicion and suspense to certain people and scenes For example when the street guys were following the M the camera jumping around just like the street men made it feel like he was surrounded When he got away the camera was in the POV of the street guy keeping watch when a truck interrupted the view he was gone to us and in the film M end 0 Theme 0 Cops come off to be on killers side I Ie defense discussion with the crowd O Ambiguous ending 0 Crowd plhenacement 0 Editing 0 Never see cops I Hands up implies I Reminds you it s a film 0 Scenes seems simpler than movies today I More controlledless improv 0 Voice sound perspective takes into account location of camera to keep audience in the story realistic approach I Voice offs I Nonrepresentational music thus more suggestive and thus can convey the irrational and emotive I Sound 0 Sound recording takes place simultaneously with the filming of a scene under the direction of a sound designer slows down production bc quiet on set 0 Montage approach explores the concrete nature of sounds and their potential independence of images and each other making us conscious of their Violation by calling attention to the actual sound recording process or how sounds create emotional cues