Cinema: History and Criticism, Week 7 Notes
Cinema: History and Criticism, Week 7 Notes ENGL 212
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This 2 page Class Notes was uploaded by annazeberlein on Sunday February 28, 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 36 views. For similar materials see Cinema: History and Criticism in Foreign Language at College of Charleston.
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Date Created: 02/28/16
Cinema, History and Criticism, Week 7 o Movement § Zoom in/zoom out • Zoom in – the camera is not moving, the lens is refocusing closer towards something • Zoom out – follows action backwards • If it’s done too quickly, it’s blurry § Hand held shots • Created by a lightweight handheld camera • Deliberately unsteady, some specific purpose, indicating POV of an individual moving. • Often creates a mockumentary, home video feel • Steadicam shots – a device that gives you stability when using a handheld shot, worn on the shoulder to avoid jarring or shakiness • Parks and Rec, Paranormal Activity, “found shots” kind of movies o The long take § Stretches out the shot for a long time before cutting § Alfred Hitchcock’s Rope, only 8 shots, each shot is 10 minutes, 1 reel of film, sometimes has disguised cuts, creating a fluid (rope-like) narrative § Different from long shot! o Color § Obviously important aspect of cinematography and mise-en-scene § Colors our experience of the film and the shot § Color – spectrum of color grades • Can be symbolic too (green and The Great Gatsby) § Tone – shading or intensification of color o Image as presentation or representation § Can we look at any one image by itself, or is it reflecting something on the world? - Breathless (1960 – Jean-Luc Godard) o Restlessness that characterized the youth of the era o Continuous and rapid cutting suggests a passage of time, but in this film, it’s hard to know how much time has passed o Artifice/art vs realism o French New Wave – film movement in the 50’s and 60’s in France, experimental, attempting to break the rules § Lightweight, portable camera for flexibility of location § Post war only a few of these movements going on at this time § 400 Blows, Hiroshima Mon-Amour, etc. o Risqué, edgy, protagonist introduces himself as an asshole, wants to be cool o Issue of translation, slang and interpretation o Breaking the 4 wall – artifice or realism? o POV shot from the passenger seat – realism o Low-budget film – real people in the background § Almost documentary-like o On the cusp of the women’s movement o Modern movie, but it’s shot in B&W § Used to seem more realistic o Plugs his own magazine by dismissing it o Modern film, yet the villain still gets punished in the end o The camera itself is restless o He highly admires Bogart § Breaking away from the classic but still has respect for them § Michel’s desire to be cool o When are you sleeping with me? When are you coming to Rome with me? o Rapid cutting emphasizes monotony and long passages of time o Does he love her? Or does he just believe he’s in love with her? Does he just want the chase? o Profound on the level of mundane, everything is all together – hyperrealism? Absurdity?