RTF 317 Screening Journal 6
RTF 317 Screening Journal 6 RTF 317
Popular in Narrative Strategies in Film and Television
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This 1 page Class Notes was uploaded by Cassidy Schap on Wednesday September 30, 2015. The Class Notes belongs to RTF 317 at University of Texas at Austin taught by Michael Rennett in Spring 2015. Since its upload, it has received 21 views. For similar materials see Narrative Strategies in Film and Television in Film at University of Texas at Austin.
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Date Created: 09/30/15
Sofia Coppola s Lost in Translation premiered in 2003 and has deep roots in both the Indiewood movement and classical Hollywood tradition Schatz notes that Indiewood and Conglomerate Hollywood exist in a cautious symbiosis and that the latter provides a remarkable range of creative opportunitiesquot 128 for a new generation of filmmakers who have the desire to pursue them Indeed just looking at Sofia Coppola makes this abundantly clear Her father Francis Ford Coppola has been a household name for over 30 years with classic films like Apocalypse Now and The Godfather making him one of the faces of the New Hollywood of the 1970s It is the studio that he started as a means of financing independent pictures that produced Lost in Translation His big name success within the studio system helped grant Sofia the opportunity to make a film like this one which falls into a less mainstream category of production The movie is also inherently rooted in studio Hollywood s star culture by virtue of Murray s Bob Harris being an American movie star albeit one past his prime perhaps that s a comment on how big Conglomerate Hollywood is similarly coming to terms with a changing society Just as Bob is in Tokyo to film a commercial for a big paycheck so too is Hollywood critiqued for often being focused on profit over substance The story arguably revolves around Bob and Charlotte s relationship without much else by way of plot This certainly deviates from the formulaic nature of big Hollywood blockbusters focusing on character over action However the romantic aspects of the film as well as the humor are trademarks of classical narratives In this way we see that the film s Indiewood roots offer a hybrid product combining popular dynamics with more distinctivequot King 151 elements that serve to elevate the film while allowing it to remain accessible to most mainstream audiences To this end the visual components of the film contribute significantly as well The lighting is full of heavy contrast Unlike classical Hollywood blockbusters which often rely on artificial lighting to create very specific images Lost in Translation utilizes a great deal of natural lighting that yields a more artistic subtle aesthetic Also contributing to this effect is the use of 35 mm film instead of digital video lending an almost unrefined spontaneity The resulting atmosphere is romantic but elevated without feeling forced or contrived King also notes that recently Indiewood films have been particularly prominent in the achievement of Academy Awards and nominationsquot 141 and Lost in Translation is no exception with four nominations and a win for Coppola s screenplay Thus we can confidently make the assertion that Last in Translation has a definite place in Indiewood cinema situated somewhere between Hollywood s traditions and the more artistic fare typical of indie films niche market attitudes
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