The German Film
The German Film GERM 1171
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This 11 page Class Notes was uploaded by Celestino Littel DDS on Thursday September 17, 2015. The Class Notes belongs to GERM 1171 at University of Connecticut taught by Hammerstein in Fall. Since its upload, it has received 24 views. For similar materials see /class/205800/germ-1171-university-of-connecticut in German at University of Connecticut.
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Date Created: 09/17/15
Key Terms Realism A slice of life itte manipulation or commentary focuses on content rather than technique Formalism manipulatesdistorts raw material styaizedsubjective approach focuses on technique Avant garde Classicism mixture of both realism and formalism most FICTION films are classicist Mise en Scene quotput in the framequot where characters or objects are placed within the frame the different positions signify different meanings and different importance center resened for the most important visual elements top shows authority bottom subservience vulnerability eftright suggests insigni cance off frame darkness or mystery Sound called talkies firs t used in quotThe Jazz Singerquot in 1927 problems were that actors were restricted to one spot in order for the sound to be picked up by the microphone actors had to subdue their facial expressions everything had to be memorized and choreographed offscreen sound scary silence creates tension Pitch Volume and Tempo High pitch fearon edge vs low pitch soothing Loud volume intensitypowerful vs quiet calmmystery Fast tempo excitingaction vs slow relaxingboredom Music compliments what the audience sees triggers emotionmood foreshadows leitmotiv a small piece of music that goes with a character Spoken Language dialect how lines are said Six Basic Shots extreme long shot aka establishing shot long shot fu shot medium shot closeup extreme closeLip Five Basic Angles Birds eye view god like can be used as establishing shot high angle vulnerable eyelevel equal ow angle audience is less powerful oblique angle offbalance Color light joy virtue security dark evil unknown fear Use of Color in Film high key comedy musicals high contrast tragedies low key scary movies backlighting angelic halo effect cool colors blue purple green warm colors orange yellow red Editing Cutting to continuity preserve uiditycontinuity of event of development without showing every second of it condensation without missing important info put in sequence avoid jump cuts Transition Techniques cut fade inout cross cutting iris inout jump out no establishing shot Nonfictional Narrative story structure is based on an argument Documentary actua people places etc interviews tries to be nonbias but usually is objective edit the lm reporting Propaganda influencing manipulating attitudes working with fragments oftruth Point of View lens on camera eyes perspective viewing events first person we see what is happening through the eyes of one person omniscient all knowing see things from the perspective of multiple characters objective no info on the mind ofa character third person outside point of view Proxemic Patterns lntimate touching 18 inches Personal 18 inches 4 feet Social 4 feet 12 feet pubic 12 feet 25 feet Territorial Space informs us about social andor psychological relationship the dramatic importance or significance ofa character main character gets the most space Formalism Deliberater stylize film Focus is on technique Classicism realism Try to be as unbiased as possible Focus is on content Classical Cinema Most fiction films that fall in between the two extremes offormalism and realism Mise en scene meesensen quotplacement on stagequot the arrangement of all the visual elements ofa theatrical production within a given playing area Aspect Ratio The ratio of the frame39s horizontal and vertical dimensions This remains constant throughout the movie Prior to the introduction of widescreen most movies were shot in a 1331 ratioS tandard 1851Widescreen 2351 Masking Blocking out portions of the frame in order to convey a sense of height despite a horizontal shape Dominant Contrast The area of an image that immediately attracts our attention It stands out in some kind of isolation in comparison to all the other images Subsidiary Contrasts Things that the artists has added to act as counterbalancing devices Open and Closed Forms Realist filmmakers tend to used open forms whereas formalists tend to use closed forms Open forms emphasized informal unobtrusive compositions with a random form of organization Closed form emphasizes a more stylized design Shot De ned by the amount of subject matter thats included in the frame of the screen Extreme long shot Long shot Full shot Medium shot Closeup Extreme closeup mmewwe The deepfocus shot is a variation ofthe long shot Establishing Shots Extreme long shots that serve as spatial frames of reference Long Shot The most complex and is the most imprecise Corresponds to the distance between the audience and the stage in the live theatre Full Shot Barely includes the human body in full with the head near the top of the frame and the feet at the bottom Medium Shot Contains a gure from the knees to the waist up Used for carrying dialogue and movement There are several variations the twoshot which has two characters and the threeshot with three the overtheshoulder shot usually contains two characters The Closeup Shows very little and concentrates on a small object The Extreme closeup Instead of a face it may show only a persons eyes or mouth DeepFocus Shot A long Shot consisting of a number of focal distances Sometimes a wideangle lens is required in order to photograph This type of shot captures objects at close medium and long ranges simultaneously Types of Angles Bird s eye view the high angle the eyelevel shot the low angle the oblique angle mhwme Eyelevel shots Seldom dramatic and tend to be the norm Bird39seye View The most disorienting angle of all for it involves photographing a scene from overhead The people photographed seem vulnerable and insignificant HighAngle Shots Reduce the height of the objects photographed and usually include the ground or floor as a backgrounds Movement is slowed down The importance of the setting is usually increased and the locale seems to swallow people Low Angles Increase height Motion is speeded up especially in scenes of violence and a sense of confusion Often the sky is used as a ceiling A person shot from this angle inspires fear and awe Oblique Angle Sometimes used for pointof view shots and meant to disorient a viewer High Key Bright even illumination with no conspicuous shadows Tend to be used in comedies and musicals High Contrast Tragedies and melodramas are usually shot wit h harsh shafts of light and dramatic streaks of blackness Low Key Mysteries and thrillers Show diffused shadows and atmospheric pools of light Backlighting Create an ethereal lighting and can create a halo effect Overexposure A glaring ood of light from too much light entering through the aperture Used in nightmare films Filter Intensify given qualities and suppress others Rack Focusing selective focusing Adjusting the focal distance of long lenses while shooting Wideangle lenses Short lenses Have short focal lengths and wide angles of view Tend to warp edges of the image The sheye lens is the most extreme example Cutting to Continuity Tries to preserve the fluidity of an event without showing all of it Jump Cut Editorial transition that is confusing in terms oftime and space Reverse Angle Shot director takes care to x the placement of the characters from shot to shot during dialogue Parallel Editing The switching of shots of one scene with another at a different location CrossCutting Switching back and forth between scenes Leftists and Rightists Leftists are global in their perspective emphasizing human rights Rightists tend to be strongly patriotic often regarding people from other countries as vaguely inferior Avantgarde Don39t usually tell stories in the conventional sense FirstPerson Narrator Tells his or her own story An objective observer who can be relied on to relate events accurately Omniscient Point Of View Allknowing observers who supply the reader with facts German Film Midterm Study Guide Films Nosferatu The movie Nosferatu is a silent film and because of this I found it difficult to watch since there is nothing to listen to besides music It was a different experience Watching this movie however I was able to pay attention more to the details of the scenes and also to the plot The exaggeration of characters and their actions I now see help with a viewer being able to follow along with the plot and also am able to view the movie as a story in a book versus a silent film The director uses some of the same techniques of other directors from that time For example in that time many directors would use light motifs llmise en scenequot and other film techniques to show certain things importance or its irreverent nature When we see Orlock we mostly see him surrounded by darkness and shadowy figures This is giving the audience the pretense that he is dangerous and we should watch with caution First vampire film directed by Friedrich Wilhelm Murnau in 1922 silent film story of good vs evil ightingearly animation 0 Good versus evil central juxtaposition a Day vs night light vs shadow black vs white rich vs poor pure vs unpure ueg vs beautiful powerful vs powerless Notes from class 0 Film is 3 Art form Medile Business enterprise Propaganda Genres Tells a story Make money Convey a message Inform people Manipulation 0000000 0 O Fritz Lang as a director incorporated his view of the society around him into his first talkie quotMquot The violence that he witness and the suspicious of traitors is presented in the movie by the angry citizens and violent gangs He used many different angles and lightings to demonstrate serious or important moments For most of his scenes he used closeup shots especially in scenes where he zooms in on things like evidence that is related to the murder as well as the newspaper clippings Since it is he s first talkie he experiments with sound a lot in terms of pitch and volume In the beginning of the movie when the little girl is singing that llawful songquot her mother s voice goes up in volume to demonstrate authority as well as the pitched is raised when the child goes missing The director s techniques enforce the plot children going missing because ofa serial killer s inter fight with his impulses to kill and the town s gang taking punishment in their own hands because of the killer s activity disturbing their business since so many cops are out The director s seems to favor leftcenter shots in his llmise en scene Using these shots keeps the viewers looking and thinking about what is next He also uses dark shadows to represent the murderer and uses a light motif whistling when the murderer is around The director does include symbolism into his movie For example when the blind man figures out who the killer is represents that German society is in such turmoil anyone can recognize it directed by Fritz Lang in 1931 based on true story of a serial killer in Berlin use of light and shadow music and sound Ieitmotiv everyone exerts violence crosscutting Notes from class The Director in 1933 was asked to make his movies in favorfor the Nazi party but his mother was Jewish so he escape to Paris and then went to Hollywood MGM and died in Beverly Hills M Was based on a true story Serial killer in Berlin Story of pervasion and crime Individual level killer is not a self confident monster but a little bourgeois psychopath 3 He mobilizes the quotfascistquot potential of society 3 Cops and robbers story dangers for children capital punishment compulsive murder and psychology Germany in 1931 was very violent 3 First silent film 3 Historical context 3 1931 political context Germany was chaotic 3 1918 defeat in VWVI and end of monarchy 3 1920 econ crisis and slow recovery 1929 stock market crash Widespread discontentmen t s O O r O Q 3 People no longer believed in democracy and official authorities to handle the situation Triumph of the WillLife of L Riefenstahl O O O This movie is different from the previous two we have seen in class One difference is it has a female director Leni Riefenstahl and it is also a documentary based movie that has become one ofthe most known propaganda films It is a critical movie to the time of the Nazi uprising it appeals in favor to the Nazi era It also is known for introducing the director s filming techniques that are present throughout the movie such as the moving cameras use of the bird s eye view shot In the start ofthe film when Hitler s plane is coming Riefenstahl uses the bird s eye view shot to sort of create this very tranquil setting kind oftrying to associate Hitler with peace She also has him in the quotmise en scene at the center top showing his authority over the German people She also uses low angle shots of German buildings in a sense to show the significance of German power on all people The way she moves the cameras guides the viewers to where ever she wants to take them to where she wants to place them In a sense she guides viewers to see what she wants them to see and only what she wants them to see The film techniques is exactly what makes this movie a propaganda because she shows the viewer what she believes is correct and is bias in the way she tells the story directed by Leni Riefenstahl in 1935 cornmissioned by Nazi Party Riefenstahl financed it herself had total freedom of editing did no more films for Nazi Party Leni 0 Goddess of film making Nazi pin up girlquot etc o Tried in 1945 for collaboration with the Nazi Party 0 Triumph of the Will 0 About Nazi Party Rally in Nuremberg 1934 o Commissioned by the Nazi Party NSDAP o Leni s conditions for the film I Self financed I Total freedom I No more films forthe Nazi Party GERM l 17 l Do all the readings see all the films study your notes and journal entries Format of the Midterm multiple choice truefalse ll in the blank etc similar to quiz ID s you will be able to choose out ofa selection of ID s one essay choice of several topics Films Nosferatu M Triumph of the Will Life of L Riefenstahl Europa Europa The Pianist The Boat The Reader Cinematography RealismFormalism Mise en Scene Sound Photography Editing Non ctional Narrative Point of View Queer Cinema Territorial Space Proxemic Patterns Settings and Decor and CostumesMakeup Readings on ECR in HuskyCT and WW Giannetti 8790 Armour 1724 2731 4648 97103 Hull 7377 13237 Giannetti 416 Kaes 116 Giannetti 218 two reviews on Pianist you found on www two websites w info about Warsaw Ghetto Uprise Maslin review from www Readings in Giannetti 18 4466 8391 201236 943 13155 35055 39296 43642 6783 30329 Europa directed by Aghieszka Holland in 1939 True story of Solomon Perel 1 st person point of View Hitler youth and ghettos uses comedy interspersed The Pianist directed by Roman Polanski in 2002 based on story of pianist Wladyslaw Szpielman Warsaw Ghetto uprising 1 st person point of view powerful role of music elements of both realism and formalism classicism Das Boot spacial patterns and tightly framed shots tight loose frame within a frame
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