Notes Week 1
Notes Week 1 FAMST 150 CB
Popular in Film Theory: Coen Brothers
Popular in Film
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This 7 page One Day of Notes was uploaded by Edgar Santana on Thursday January 22, 2015. The One Day of Notes belongs to FAMST 150 CB at University of California Santa Barbara taught by Joshua Moss in Winter2015. Since its upload, it has received 96 views. For similar materials see Film Theory: Coen Brothers in Film at University of California Santa Barbara.
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Date Created: 01/22/15
Coen Brothers Tuesday January 6 2015 131 PM Areas of Study Formal and Thematic Analysis Genre and Style Historical and Industrial Auteur Study 0 Consistent author signature in aesthetics themes genre and styles 39 Iconography landscapesviolence UnHeroes etc Perspectives on modernism and postmodernism in cinema and art 0 Cinema as an art form Joel and Ethan Coen Joel 1954 amp Ethan 1957 Raised Jewish Children of Academics Began shooting Super8 movies at a young age Joel Film Major at NYU 1978 Ethan Philosophy Major at Princeton 1979 Self Finance Blood Simple 19821984 16 Feature Films 2 Shorts 56 additional Screenplays 14 Academy Award Nominations 4 wins Influence of Classical Hollywood Cinema Double Indemnity Sullivans Travels Classical Hollywood 19271945 Peak of Studio System Peak of Star System Genre Crystallization Movies defined by consistent genre tropes Safety and assurance you know what you39re going to get Good beats evil Heterosexual unions America as land oftriumph and hope One Exception Film Noir Film Noir Rejects happiness as a fantasy Construction is visible Classic Film Noir America as land ofdespair and hopelessness Illicit sensations sex and violence Primal motivations Cosmic Indifference Role of luck and fate Black Humor Narration and Flashbacks nonlinear Self Reflexive Life is utterly meaningless and random Double Indemity Control v Chaos Primitive Urges Events go wrong Dark Humor Role of Luck Cosmic Retrobution Coen Brothers Thursday January 8 2015 1257 PM Double Indemnity American Dream as nightmare Suburban life as prison Consumerism as fraud Walter Neff o Hapless Hero 0 Overcome by sexual desire o Aware of his fate Phyllis Dietrichson o Femme Fatale o Ambiguous motivation o Anklet as sexual signifier o Manipulates everywhere 0 Cruel Violent Indifferent Death Barton Keyes 0 quotLittle man in the chestquot 0 Neurotic character action 0 Convinced everyone is working a scam o Colorful dialogue o Betrayed by walter Breakdown of heterosexual union Doomed fatalism Vehicles travel but no escape Structural Motifs 0 Lighting matches 0 Namesdateslocations as attempt to make sense of logic 0 quotThe little manquot hunchesfeelings 0 Vehicles going nowhere o DarknessShadows Thematics o Primitive instincts blind and betray us TL IILC I I 1I 0 Artificial World 0 me game or llTe Is rigged for tragedy o No Happiness No Hope Key Theme 0 There is no hope of escape o Fate gt Choice 0 Fatalism defeats hope dreams morality o Primal Urges lust greed etc 0 Life is meaningless prima and random nihilism except when fate punishes the wicked Femme Fatale 0 Power of female sexuality to unleash chaos o Breaks down male friendshiplove WalterBarton o Rejects female as idealized representation of home and family Classic Film Noir 19401960 0 America as a nightmare 0 Land filled with shadows and darkness 0 No heroesno hope 0 Fate Humor in Classic Film Noir o The only saving grace in a cruel and indifferent universe is humor Hollywood Classical Realism 0 Dominant industry aesthetics and thematics established between 19271945 0 Predominant more of narrative film making 0 Construction of misenscene aspires to invisibility 39 Consistentnaturallighting 39 Seamless matchonaction editing 39 Realistic sound design 39 Music amplifies emotions 39 Consistentperformances 39 quotNeutral Cinemaquot 39 NarrativeJourney is linear and clear Motivations explained 39 Characters overcome obstacles to resolve plot Film Noir o Violates these rules 0 Extreme self conscious stylization Why IIIm NoIr Isn39t considered a Genre 0 Formal Thematic and stylistic elements are trangeneric 39 Noir Gangster films 39 Noir musicals I Noir Westerns 39 Noir Superhero Genres are always changing never static Genre Identified by 0 Formal and thematic properties 0 Plot tropes Narrative Events 0 Charactertypes casting 0 Visual style cinematography and visual iconography sets 0 Reception campcult films Classic Hollywood Genres 0 Western Gangster Screwball comedy Melodrama Historical Epic SuspenseThriller Musical 0 Adventure Film etc Classical Hollywood Genre Themes 0 America as dream 0 Hard work pays off 0 Life has meaning Happy Endings o Villain is defeated CH v EN 0 Classic Hollywood genres defined by character and obstacle Film Noir defined by tone and mood Three influences on Film Noir 0 German Expressionism 0 Crime Thriller Pulp novels 0 Increasing anxieties about entering war German Expressionism 0 19181933 0 Film as painting come to life 0 Experimental abstract visuals OOOOOO Distorted perspectives Theatrical unreal Meant to reflect inner life of characters Influenced by I mpressionismpainitng I Freaudian psychoanalysis Emigr Film Makers 0 German and Austrian filmmakers come to Hollywood in 193039s 0000 I Fritz Lang I Billy Wilder I Edgar Ulder I Etc Hard Boiled Crime Pulp Novels 0 Later 192039s quotCrimeFictionquot I Dashiell Hammett I James M Cain I Raymond Chandler Pulp Novels 0 Cheap Sexual innuendo Greed lust revenge Stylized dialogue Explosions ofviolence Flawed Protagonist o Cosmic indifference to murder No film noir in 1930s 0 Happy Escapism for the great depression Noir to NeoNoir Sullivan39s Travels o The Screwball Comedy I Popular in 1930s and 1940s I FantasyEscapism I quotThe battle ofthe sexesquot I Movie starfriendly I Romantic Banter drives adventure plot I Male andfemale leads on equal footing I Happy Ending romantic union is resolved I The opposite of noir or is it 00000
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