Looking At MoviesLooking At Movies(An Introduction to Film)(An Introduction to Film)

Second EditionSecond Edition

Richard BarsamRichard Barsam

((PowerpointPowerpoint))

CH 1. What is a Movie?CH 1. What is a Movie?

Looking at MoviesLooking at Movies

• Our goal is Our goal is lookinglooking at movies rather than at movies rather than just passively watching them.just passively watching them.

• Identifying the major components of Identifying the major components of film form and the “language of movies”.film form and the “language of movies”.

• Exploring the grammar of cinematic Exploring the grammar of cinematic languagelanguage

Form vs. ContentForm vs. Content1.1. Content:Content: the subject of the artwork the subject of the artwork

2.2. Form:Form: the means through which that subject is the means through which that subject is

expressed.expressed.

• A form is the overall system of relationships among A form is the overall system of relationships among

elements that make up the whole film.elements that make up the whole film.

e.g. e.g. Wizard of OzWizard of Oz(1939(1939)) -narrative elements + -narrative elements +

stylistic subsystem (colors) + (music)stylistic subsystem (colors) + (music)

Film form may make us perceive things anew by Film form may make us perceive things anew by

shaking up our accustomed way of hearing, seeing, shaking up our accustomed way of hearing, seeing,

feeling and thinking.feeling and thinking.

PatternsPatterns

• We search for patterns or progressions in all We search for patterns or progressions in all art formsart forms

• As we watch a movie, we become aware that As we watch a movie, we become aware that the director has organized the work around the director has organized the work around structural principles.structural principles.

• We see patterns employed in D.W. Griffith’s We see patterns employed in D.W. Griffith’s classic classic Way Down East(1920Way Down East(1920) ) through parallel through parallel editing. editing. {page 9}{page 9}

Buzz WordsBuzz Words• Content-Content- The subject of an artwork. The subject of an artwork.

• Form-Form- The means by which a subject is The means by which a subject is

expressed. The form for poetry is expressed. The form for poetry is

words; for drama, it is speech and words; for drama, it is speech and

action; and for movies, it is pictures and action; and for movies, it is pictures and

sound.sound.

Form and ExpectationsForm and Expectations• Film form may make us perceive things anew.Film form may make us perceive things anew.• Film form may shake us out of our accustomed way of Film form may shake us out of our accustomed way of

hearing, seeing, feeling and thinking.hearing, seeing, feeling and thinking.e.g. A what follows? B---AB-you made a formal e.g. A what follows? B---AB-you made a formal

assumption. What follows AB? ABC? or ABA?assumption. What follows AB? ABC? or ABA?• Form is a concrete system of patterned relationships Form is a concrete system of patterned relationships

e.g. Narrative Form-a chain of events in a cause- effect e.g. Narrative Form-a chain of events in a cause- effect relationship occurring in time.relationship occurring in time.

• In In PsychoPsycho, Hitchcock uses a “MacGuffin” an object , Hitchcock uses a “MacGuffin” an object that is of vital importance to the characters in his that is of vital importance to the characters in his movie. The $40,000 (a “MacGuffin”) Marion steals movie. The $40,000 (a “MacGuffin”) Marion steals sets up our expectations. What happens to that sets up our expectations. What happens to that “MacGuffin” when Marion is murdered?“MacGuffin” when Marion is murdered?

Principles of Film FormPrinciples of Film Form

• Movies manipulate space and time in Movies manipulate space and time in unique ways.unique ways.

• Movies depend on light.Movies depend on light.

• Movies provide an illusion of movement.Movies provide an illusion of movement.

Q. Which is the best description of the difference Q. Which is the best description of the difference between content and form?between content and form?

a.a. Content is the meaning of the movie, and form is what Content is the meaning of the movie, and form is what happens in the story.happens in the story.

b.b. Content refers to a movie’s look, and form refers to its Content refers to a movie’s look, and form refers to its genre.genre.

c.c. Content is the subject of an artwork, and form is the means Content is the subject of an artwork, and form is the means through which that subject is expressed.through which that subject is expressed.

d.d. Content refers to individual scenes or shots, and form Content refers to individual scenes or shots, and form refers to the movie as a whole.refers to the movie as a whole.

e.e. None of the above.None of the above.

Movies Manipulate Space and TimeMovies Manipulate Space and Time

• Movies render the dynamization of space and Movies render the dynamization of space and the spatialization of time......Erwin Panofsky, the spatialization of time......Erwin Panofsky, film theorist film theorist {page 11}{page 11}

• The motion picture camera and its lens are the The motion picture camera and its lens are the key factors in manipulating spacekey factors in manipulating space

• The camera mediates between the exterior (the The camera mediates between the exterior (the world) and the interior (our eyes and brain)world) and the interior (our eyes and brain)

Movies and Space & Time IIMovies and Space & Time II

The movies unique ability to manipulate space The movies unique ability to manipulate space and time is poignantly portrayed in:and time is poignantly portrayed in:

1.1. Sergei Eisenstein’s “Odessa Steps Sequence” Sergei Eisenstein’s “Odessa Steps Sequence” from from Battleship Potemkin(1925Battleship Potemkin(1925) ) {page 12}{page 12}

2.2. Kenneth Branagh’s 1989 film adaptation of Kenneth Branagh’s 1989 film adaptation of Henry VHenry V {page 13}{page 13}

3.3. Charlie Chaplin’s Charlie Chaplin’s Gold RushGold Rush(1925(1925) ) {page 15}{page 15}

Movies Depend on LightMovies Depend on Light• Lighting is responsible for the image we see Lighting is responsible for the image we see

on the screenon the screen

e.g. Expressive use of light in:e.g. Expressive use of light in:

1.1. Grapes of WrathGrapes of Wrath, (1940;Ford) {page 16}, (1940;Ford) {page 16}

2.2. Third ManThird Man, (1949;Reed), (1949;Reed)

3.3. Citizen KaCitizen Kane, (1941;Welles)ne, (1941;Welles)

4.4. Double IdemnityDouble Idemnity, (1944;Wilder), (1944;Wilder)• Lighting is a fundamental characteristic of film Lighting is a fundamental characteristic of film

artart

PhotographyPhotography• Movies are a natural progression in the history of Movies are a natural progression in the history of

photography (“writing with light”)photography (“writing with light”)• Camera ObscuraCamera Obscura: Literally, “dark chamber”. : Literally, “dark chamber”.

Before the advent of photosensitive film, this Before the advent of photosensitive film, this device helped create life- like drawing.device helped create life- like drawing.

• Development of the negative by William Talbot Development of the negative by William Talbot and subsequent refinements in technology and subsequent refinements in technology (Daguerre) that led to plastic rolls of film by (Daguerre) that led to plastic rolls of film by Eastman (1889) with a gelatin emulsion.Eastman (1889) with a gelatin emulsion.

Figure 1.1 Camera ObscuraFigure 1.1 Camera Obscura

Series Photography Series Photography

• Records the phases of an actionRecords the phases of an action• On May 4, 1880, using an early projector On May 4, 1880, using an early projector

known as the known as the magicmagic lanternlantern and a revolving and a revolving disk called a disk called a zoopraxiscopezoopraxiscope, Briton Eadweard , Briton Eadweard Muybridge’s famous series of photographs Muybridge’s famous series of photographs displaying a horse in motion were displaying a horse in motion were demonstrated to the public for the first time.demonstrated to the public for the first time.

Series Photography IISeries Photography II

• In 1882, Marey, a French physiologist, In 1882, Marey, a French physiologist, made the first series of photographs of made the first series of photographs of continuous motion with the continuous motion with the fusilfusil photographiquephotographique (a form of (a form of chrono-chrono-photographic gunphotographic gun) replacing Muybridge’s ) replacing Muybridge’s multiple camera setup with a single camera multiple camera setup with a single camera capable of taking consecutive pictures of capable of taking consecutive pictures of live action.live action.

Q. The intermediary step between still Q. The intermediary step between still photography and cinematography is photography and cinematography is

a.a. Chronotography.Chronotography.

b.b. Series photography.Series photography.

c.c. Chrono-photography.Chrono-photography.

d.d. Fusil photography.Fusil photography.

e.e. Revolver photography.Revolver photography.

Motion Picture Photography Motion Picture Photography

• In 1891, William Kennedy Laurie Dickson, In 1891, William Kennedy Laurie Dickson, working with Edison researchers, invented the working with Edison researchers, invented the KinetographKinetograph (the first motion picture camera) (the first motion picture camera) and the and the KinetoscopeKinetoscope (a peephole viewer) (a peephole viewer)

• The first motion picture housed at the U.S. The first motion picture housed at the U.S. Library of Congress was Dickson’s “Library of Congress was Dickson’s “Edison Edison Kinetoscopic Record of SneezeKinetoscopic Record of Sneeze”(1894) later ”(1894) later popularly referred to as popularly referred to as Fred Ott’s SneezeFred Ott’s Sneeze (DVD)(DVD)

Motion Picture Photography IIMotion Picture Photography II• In 1893, Edison made films inside his primitive In 1893, Edison made films inside his primitive

studio known as studio known as Black MariaBlack Maria• In 1889, George Eastman began mass-producing In 1889, George Eastman began mass-producing

celluloid roll filmcelluloid roll film, also known as , also known as motionmotion picturepicture filmfilm or or rawraw filmfilm stockstock on which a rapid on which a rapid succession of still photographs known as succession of still photographs known as framesframes can be recorded.can be recorded.

• On one side of the perforated acetate strip is an On one side of the perforated acetate strip is an emulsion with silver halides; the other side is a emulsion with silver halides; the other side is a non-reflective backing.non-reflective backing.

Motion Picture Photography IIIMotion Picture Photography III

• The strip of film is perforated with sprocket The strip of film is perforated with sprocket holes that allow orderly movement through the holes that allow orderly movement through the cameracamera, , processorprocessor, and , and projectorprojector

• Stage 1: Stage 1: shootingshooting: camera exposes film to light : camera exposes film to light • Stage 2: Stage 2: processingprocessing: negative is developed into : negative is developed into

a positive print.a positive print.• Stage 3: Stage 3: projectingprojecting: final print is run through a : final print is run through a

projectorprojector

Figure 1.2 The Motion Picture Figure 1.2 The Motion Picture CameraCamera

Figure 1.3 Standard Film GaugesFigure 1.3 Standard Film Gauges

Motion Picture Photography IIIAMotion Picture Photography IIIA

• 16 fps (frames per second) for silent 16 fps (frames per second) for silent filmfilm

• 24 fps for sound-creates the illusion of 24 fps for sound-creates the illusion of movement movement

• Silent cameras were often hand- cranked Silent cameras were often hand- cranked from 12 to 24 fps.from 12 to 24 fps.

Motion Picture Photography IVMotion Picture Photography IV

• Today, cameras and projectors are powered Today, cameras and projectors are powered by precision electric motors that ensure by precision electric motors that ensure perfect movement of the film.perfect movement of the film.

• Digital technology replaces the mechanics Digital technology replaces the mechanics but the role of light is unchanged.but the role of light is unchanged.

• A film’s format is its A film’s format is its gaugegauge or width which or width which is measured in millimeters (mm).is measured in millimeters (mm).

Q. The first motion picture camera was the Q. The first motion picture camera was the

a.a. Kinetoscope.Kinetoscope.

b.b. Zoopraxiscope.Zoopraxiscope.

c.c. Kinetograph.Kinetograph.

d.d. Camera obscura.Camera obscura.

e.e. Cinématographe.Cinématographe.

Motion Picture Photography IVAMotion Picture Photography IVA

• FormatsFormats: 8mm, super 8mm, 16mm, super : 8mm, super 8mm, 16mm, super 16mm, 35mm, super 35mm, 70mm, IMAX 16mm, 35mm, super 35mm, 70mm, IMAX (3X70mm)(3X70mm)

• FilmFilm stockstock lengthlength = number of feet = number of feet (meters) or number of reels(meters) or number of reels

• Film stock speedFilm stock speed = (Exposure Index) = (Exposure Index) sensitivity to lightsensitivity to light

Motion Picture Photography VMotion Picture Photography V

• Digital technology uses an Digital technology uses an image captureimage capture computercomputer ( (camcamputer) rather than a film camera puter) rather than a film camera and records to computer hard disks, flash and records to computer hard disks, flash memory cards, diskettes, or magnetic tape. memory cards, diskettes, or magnetic tape. (Tape seems to be on the way out.)(Tape seems to be on the way out.)

• Many filmmakers ACQUSITION on film and Many filmmakers ACQUSITION on film and edit on computer.edit on computer.

• Digital projectors are Digital projectors are slowlyslowly replacing film replacing film projectors.projectors.

Q. Which of the following technologies Q. Which of the following technologies makes movies possible?makes movies possible?

a.a. OpticsOptics

b.b. ChemistryChemistry

c.c. ElectricityElectricity

d.d. Precision machineryPrecision machinery

e.e. All of the aboveAll of the above

Q. Which of the following film stocks is most Q. Which of the following film stocks is most often used for professional film production?often used for professional film production?

a.a. Super 8mmSuper 8mm

b.b. Super 16mmSuper 16mm

c.c. 16mm16mm

d.d. 35mm35mm

e.e. 65mm65mm

Movies Provide an Illusion of MovementMovies Provide an Illusion of Movement

““Movies” is an abbreviation for the phrase Movies” is an abbreviation for the phrase moving moving picturespictures and the movement on the screen is an and the movement on the screen is an illusion made possible by:illusion made possible by:

1.1. Persistence of VisionPersistence of Vision: process by which the : process by which the human brain retains an image a fraction of a human brain retains an image a fraction of a second longer than the eye records it.second longer than the eye records it.

2.2. PHI PhenomenonPHI Phenomenon: illusion of movement created : illusion of movement created by events that succeed each other rapidly.by events that succeed each other rapidly.

3.3. Critical Flicker FusionCritical Flicker Fusion: a single light turns on and : a single light turns on and off so fast that it appears as one light.off so fast that it appears as one light.

Movies Provide an Illusion of Movement IIMovies Provide an Illusion of Movement II

• During the early Silent Era movies were called During the early Silent Era movies were called flicksflicks because the projectors ran at slower speeds because the projectors ran at slower speeds than were necessary to sustain this illusion; hence than were necessary to sustain this illusion; hence there was a flickering image onscreen.there was a flickering image onscreen.

• Andy and Larry Wachowski’s Andy and Larry Wachowski’s The MatrixThe Matrix(1999(1999) ) developed new technology that resembled developed new technology that resembled Muybridge’s experiments by using 120 still Muybridge’s experiments by using 120 still cameras mounted in a roller coaster-style arc to cameras mounted in a roller coaster-style arc to better create the illusion of super-slow motion.better create the illusion of super-slow motion.

Realism and AntirealismRealism and Antirealism

Two basic directions for all cinema:Two basic directions for all cinema:

1.1. RealismRealism – French filmmakers August and – French filmmakers August and Louis Lumiere (1895 – 1905) established an Louis Lumiere (1895 – 1905) established an interest in the actual or real – viewing things interest in the actual or real – viewing things as they really are.as they really are.

2.2. AntirealismAntirealism (opposite of realism, (opposite of realism, formalism)formalism) – – French filmmaker George Méliès’s interest in French filmmaker George Méliès’s interest in fantasy, abstract or fantastic. fantasy, abstract or fantastic. A Trip to the A Trip to the MoonMoon (1902) (1902)

Realism and AntirealismRealism and Antirealism

• Today, many movies mix real and fantastic Today, many movies mix real and fantastic e.g. e.g. Donnie Darko Donnie Darko (2001: Richard Kelly) (2001: Richard Kelly) {page 25}{page 25}

• Portrait paintings as examples: Portrait paintings as examples:

1.1. The Hon.Frances Ducombe (1777)The Hon.Frances Ducombe (1777) by by Thomas Gainsborough {REALISM}Thomas Gainsborough {REALISM}

2.2. Nude Descending A Staircase, No.2 (1912)Nude Descending A Staircase, No.2 (1912) by Marcel Duchamp.{ANTIREALISM} by Marcel Duchamp.{ANTIREALISM} {page 26}{page 26}

Verisimilitude & Cinematic LanguageVerisimilitude & Cinematic Language

• VerisimilitudeVerisimilitude: when a movie convinces you that things on : when a movie convinces you that things on

the screen are “really there” and that things could be just like the screen are “really there” and that things could be just like

that.that.

e.g. Ridley Scott’s Gladiator (2000) people, places and things e.g. Ridley Scott’s Gladiator (2000) people, places and things

look, sound and move in believable and convincing ways.look, sound and move in believable and convincing ways.

• Cinematic LanguageCinematic Language: the accepted systems, methods or : the accepted systems, methods or

conventions by which the movies communicate with the conventions by which the movies communicate with the

viewer. Filmmakers have a language based on shots viewer. Filmmakers have a language based on shots

arranged into scenes and sequences that make up a system (a arranged into scenes and sequences that make up a system (a

movie) that provides us with meaning.movie) that provides us with meaning.

Q. “A convincing appearance of truth” Q. “A convincing appearance of truth” best definesbest defines

a.a. Fantasy.Fantasy.

b.b. Suspension of disbeliefSuspension of disbelief

c.c. Verisimilitude.Verisimilitude.

d.d. Naturalism.Naturalism.

e.e. Cinematic convention.Cinematic convention.

The 2 Levels of FilmThe 2 Levels of FilmLevel One: The Essence of FilmLevel One: The Essence of Film

• At its most basic level the moving image is a symbolic representation At its most basic level the moving image is a symbolic representation

of of beingbeing and and timetime and its structure is an event. and its structure is an event.

• If he were living today, Plato might replace his rather awkward cave If he were living today, Plato might replace his rather awkward cave

metaphor about human consciousness with a movie theater, with the metaphor about human consciousness with a movie theater, with the

projector replacing the fire, the film replacing the objects which cast projector replacing the fire, the film replacing the objects which cast

shadows, the shadows on the cave wall with the projected movie on the shadows, the shadows on the cave wall with the projected movie on the

screen, and the echo with the loudspeakers behind the screen.screen, and the echo with the loudspeakers behind the screen.

• The essential point is that the prisoners in the cave are not seeing The essential point is that the prisoners in the cave are not seeing

reality, but only a shadowy representation of it. The importance of the reality, but only a shadowy representation of it. The importance of the

allegory lies in Plato’s belief that there are invisible truths lying under allegory lies in Plato’s belief that there are invisible truths lying under

the apparent surface of things which only the most enlightened can the apparent surface of things which only the most enlightened can

grasp.grasp.

The 2 Levels of FilmThe 2 Levels of Film

Level Two: Editing as Dialogue not MonologueLevel Two: Editing as Dialogue not Monologue• The purpose of the editor is to maintain a The purpose of the editor is to maintain a

dialogue (a conversation) between the film, its dialogue (a conversation) between the film, its audience and that unique piece of time audience and that unique piece of time (beginning, middle, end) that the audience (beginning, middle, end) that the audience watches the film.watches the film.

• AudienceAudience Film Film Time Time• You avoid the control that the monologue You avoid the control that the monologue

model implies.model implies.

Essential Film SlangEssential Film Slang• Mediation: a key concept in film theory, literally to mean the process a key concept in film theory, literally to mean the process

by which an agent or structure, whether human or technological by which an agent or structure, whether human or technological

transfers something from one place to another.transfers something from one place to another.

e.g.1. The movie camera influences our interpretation of the movie’s e.g.1. The movie camera influences our interpretation of the movie’s

meaning by selecting and manipulating what is seen.meaning by selecting and manipulating what is seen.

e.g.2. Realism, no matter how lifelike, always involves mediation and e.g.2. Realism, no matter how lifelike, always involves mediation and

thus interpretation.thus interpretation.

• VerisimilitudeVerisimilitude: when a movie convinces you that things on the screen : when a movie convinces you that things on the screen

are “really there” and that things could be just like that.are “really there” and that things could be just like that.

• Cinematic LanguageCinematic Language: the accepted systems, methods or conventions by : the accepted systems, methods or conventions by

which the movies communicate with the viewer. Filmmakers have a which the movies communicate with the viewer. Filmmakers have a

language based on shots arranged into scenes and sequences that make language based on shots arranged into scenes and sequences that make

up a system (a movie) that provides us with meaning.up a system (a movie) that provides us with meaning.

Types of MoviesTypes of Movies

1.1. Narrative FilmsNarrative Films

2.2. Nonfiction Films (Documentary Film)Nonfiction Films (Documentary Film)

3.3. Animated FilmAnimated Film

4.4. Experimental FilmsExperimental Films

What is Narrative?What is Narrative?• At its simplest level, a movie’s At its simplest level, a movie’s narrativenarrative is the is the telling of its telling of its

story.story.• The storytelling impulse runs through motion picture history.The storytelling impulse runs through motion picture history.• From 1916 on, the United States became the number From 1916 on, the United States became the number oneone supplier supplier

of movies in the world market, a position it has held ever since.of movies in the world market, a position it has held ever since.• Hollywood’s success was based on telling stories clearly, vividly, Hollywood’s success was based on telling stories clearly, vividly,

and entertainingly. The techniques of continuity editing, set and entertainingly. The techniques of continuity editing, set design, and lighting that were developed during this era were design, and lighting that were developed during this era were designed not only to provide attractive images but also to guide designed not only to provide attractive images but also to guide audience attention to salient narrative events from moment to audience attention to salient narrative events from moment to moment.moment.

• Kristin Thompson, Kristin Thompson, Storytelling in the New Hollywood: Storytelling in the New Hollywood: Understanding Classical Narrative Technique.Understanding Classical Narrative Technique.

Evolution of Narrative FormEvolution of Narrative Form• By 1908 the cinema had risen from the status of a risky By 1908 the cinema had risen from the status of a risky

commercial venture to that of a permanent and full-scale, if not commercial venture to that of a permanent and full-scale, if not yet a major and respectable, industry.yet a major and respectable, industry.

• In that year, there were ten thousand nickelodeons and one In that year, there were ten thousand nickelodeons and one hundred film exchanges operating in the United States, and they hundred film exchanges operating in the United States, and they were supplied by about twenty “manufacturers” who churned out were supplied by about twenty “manufacturers” who churned out films at the rate of one to two one-reelers per director per week.films at the rate of one to two one-reelers per director per week.

• A similar situation existed on the Continent and in Britain, and A similar situation existed on the Continent and in Britain, and by the time Griffith entered the cinema, the studios or “factories” by the time Griffith entered the cinema, the studios or “factories” of the Western world could scarcely keep up with the public of the Western world could scarcely keep up with the public demand for new films.demand for new films.

David CookDavid Cook, A History of Narrative Film, A History of Narrative Film

Hollywood Narrative StructureHollywood Narrative Structure

• Even before the first talkie, Hollywood had established the basic Even before the first talkie, Hollywood had established the basic feature-length narrative structure and film techniques that would feature-length narrative structure and film techniques that would dominate the industry for the next century.dominate the industry for the next century.

• Feature-length films typically include characters who overcome Feature-length films typically include characters who overcome obstacles and conflict in pursuit of goals, and they follow the pattern of obstacles and conflict in pursuit of goals, and they follow the pattern of a three-act structure, with rising action in the latter third of the story a three-act structure, with rising action in the latter third of the story and strong closure at the end.and strong closure at the end.

• Film historian Kristin Thompson notes that Hollywood filmmakers Film historian Kristin Thompson notes that Hollywood filmmakers seek to avoid obvious plot “holes,” or unexplained or motivated seek to avoid obvious plot “holes,” or unexplained or motivated elements, and that “elements, and that “the most basic principle of the Hollywood cinema is the most basic principle of the Hollywood cinema is that a narrative should consist of a chain of causes and effects that is that a narrative should consist of a chain of causes and effects that is easy for the spectator to follow. This clarity of comprehension is basic easy for the spectator to follow. This clarity of comprehension is basic to all our other responses to films, particularly emotional ones”to all our other responses to films, particularly emotional ones”

Q. Narrative isQ. Narrative isa) the main event within a moviea) the main event within a movie

b) the overall connection of events within the b) the overall connection of events within the world of a movie.world of a movie.

c) the arrangement or order of parts of a moviec) the arrangement or order of parts of a movie

d) the entire formal system of a work of art.d) the entire formal system of a work of art.

e) the main element manipulated by filmmakers e) the main element manipulated by filmmakers to create a movieto create a movie

GenreGenre

GenreGenre refers to the categorization of fiction films by the refers to the categorization of fiction films by the

stories they tell or the ways they tell them.stories they tell or the ways they tell them.

• Genres are defined by sets of conventions-aspects of Genres are defined by sets of conventions-aspects of

storytelling such as recurring themes and situations, and storytelling such as recurring themes and situations, and

aspects of visual style such as décor, lighting, and soundaspects of visual style such as décor, lighting, and sound

• Genres have provided a consistency to filmmaking since its Genres have provided a consistency to filmmaking since its

beginningbeginning

• Genres are a flexible concept and frequently overlapGenres are a flexible concept and frequently overlap

Fifteen Genres Fifteen Genres

1. Action:1. Action: (or adventure) movies that involve characters (or adventure) movies that involve characters in fast-paced events, fights, chases, violencein fast-paced events, fights, chases, violence

e.g. James Bond, e.g. James Bond, The TerminatorThe Terminator (1984) (1984) The MatrixThe Matrix (1999)(1999)

2. Biography:2. Biography: (or biopics) movies that tell the life stories (or biopics) movies that tell the life stories of well known people.of well known people.

e.g. e.g. Malcolm XMalcolm X (1992), (1992), RayRay (2004) (2004)

3. Comedy:3. Comedy: Stories that make us laugh and end happily. Stories that make us laugh and end happily. (also Black Comedy)(also Black Comedy)

e.g. e.g. BoratBorat (2006), (2006), Annie HallAnnie Hall (1977) (1977) Super BadSuper Bad (2007) (2007)

Fifteen Genres (II)Fifteen Genres (II)

4. Fantasy:4. Fantasy: tell stories about characters and events we can only tell stories about characters and events we can only

know through the imagination.know through the imagination.

e.g. e.g. Wizard of OzWizard of Oz (1939), (1939), Lord of the RingsLord of the Rings (2001-2003), (2001-2003),

Harry PotterHarry Potter movies movies

5. Film noir:5. Film noir: French for “black film”, the term refers to highly French for “black film”, the term refers to highly

stylized crime films whose characters tend to be cynical, stylized crime films whose characters tend to be cynical,

disillusioned and loners.disillusioned and loners.

e.g. e.g. Maltese FalconMaltese Falcon (1941) and (1941) and neo-noir Chinatown neo-noir Chinatown (1974), (1974),

Blood SimpleBlood Simple (1984) (1984) No Country for Old Men(2007No Country for Old Men(2007))

Fifteen Genres (III)Fifteen Genres (III)6. Gangster:6. Gangster: stories of the underworld often overlap with stories of the underworld often overlap with

action, biopics, film noiraction, biopics, film noir e.g. e.g. Little Caesar(1931Little Caesar(1931), ), Bonnie and Clyde(1967Bonnie and Clyde(1967), The ), The

Godfather(1972), The Departed(2006Godfather(1972), The Departed(2006) ) American American Gangster(2007) Eastern Promises(2007)Gangster(2007) Eastern Promises(2007)

7. Horror:7. Horror: stories using suspense and surprise to scare or terrify stories using suspense and surprise to scare or terrify e.g. e.g. Bride of Frankenstein(1935Bride of Frankenstein(1935), ), The Excorcist(1973The Excorcist(1973), ),

Saw(2004)Saw(2004)8. Melodrama- 8. Melodrama- stories that incorporate real life events that stories that incorporate real life events that

build to exaggerated emotional behavior and often relate to build to exaggerated emotional behavior and often relate to “women’s issues” and are sometimes called “tear-jerkers”.“women’s issues” and are sometimes called “tear-jerkers”.

e.g. e.g. Way Down East(1920Way Down East(1920), ), Gone with the Wind(1939Gone with the Wind(1939), ), Far Far From Heaven(2002)From Heaven(2002)

Fifteen Genres (IV)Fifteen Genres (IV)

9.9. Musical:Musical: tell their stories with characters that express tell their stories with characters that express

themselves through song and dance, as well as spoken themselves through song and dance, as well as spoken

dialogue.dialogue.

e.g. e.g. West Side Story(1962West Side Story(1962), ), Singin’ in the Rain(1952Singin’ in the Rain(1952), ),

Chicago(2002)Chicago(2002)

10. Mystery:10. Mystery: (or crime or detective movies) Tell stories (or crime or detective movies) Tell stories

of the suspenseful work of detectives and police.of the suspenseful work of detectives and police.

e.g. e.g. The Maltese Falcon(1941The Maltese Falcon(1941), ), ZodiacZodiac(2007) (2007)

Fifteen Genres (V)Fifteen Genres (V)

11.11. Romance:Romance: stories of “boy meets girl” have morphed into stories of “boy meets girl” have morphed into

“boy meets boy” and “girl meets girl” as well.“boy meets boy” and “girl meets girl” as well.

e.g. e.g. Camille(1936), Rebecca(1940), Casablanca(1942), Camille(1936), Rebecca(1940), Casablanca(1942),

Brokeback Mountain(2005)Brokeback Mountain(2005)

12.12. Science Fiction:Science Fiction: stories of using science for exploration, stories of using science for exploration,

discovery, experimentation or extraterrestrial invasion.discovery, experimentation or extraterrestrial invasion.

e.g. e.g. Thing to Come(1936), 2001: A Space Odyssey(1968), Thing to Come(1936), 2001: A Space Odyssey(1968),

War of the Worlds(2005) Blade Runner (1982)War of the Worlds(2005) Blade Runner (1982)

Fifteen Genres (VI)Fifteen Genres (VI)

13. Thriller13. Thriller: stories that generate excitement through : stories that generate excitement through suspensesuspense about what happens next and often overlap about what happens next and often overlap with other genres. The thriller is categorized by the with other genres. The thriller is categorized by the effecteffect it has on us. it has on us.

e.g. e.g. The Spiral Staircase(1946), Psycho(1960), The Spiral Staircase(1946), Psycho(1960), Memento(2000)Memento(2000)

14. War14. War: stories where the war is the major action of the : stories where the war is the major action of the film, e.g. film, e.g. Saving Private Ryan(1998Saving Private Ryan(1998) or is the ) or is the background for the action, e.g. background for the action, e.g. The Best Years of Our The Best Years of Our Lives(1946),Lives(1946), “war is hell” films “war is hell” films Apocalypse Apocalypse Now(1979), Letters from Iwo Jima (2006Now(1979), Letters from Iwo Jima (2006))

Fifteen Genres (VII)Fifteen Genres (VII)15. Western:15. Western: stories that tell the story of the U.S. stories that tell the story of the U.S.

expansion westward after the Civil War. That expansion westward after the Civil War. That history has often been told as history has often been told as mythmyth and the and the characters are the Native Americans and the characters are the Native Americans and the pioneers who became ranchers, cowboys, pioneers who became ranchers, cowboys, prospectors, sheriffs and criminals.prospectors, sheriffs and criminals.

e.g. e.g. Stagecoach(1939), The Searchers(1956), High Stagecoach(1939), The Searchers(1956), High Noon(1952), The Wild Bunch(1969), Noon(1952), The Wild Bunch(1969), Unforgiven(1992), Butch Cassidy and the Sundance Unforgiven(1992), Butch Cassidy and the Sundance KidKid(1969) and from this last film, Robert Redford, (1969) and from this last film, Robert Redford, who played the “Sundance Kid”, named America’s who played the “Sundance Kid”, named America’s most famous film festival: most famous film festival: The Sundance Film The Sundance Film FestivalFestival

B Movies ExplainedB Movies Explained1.1. Is it cheaply madeIs it cheaply made??2.2. Does it feature women, ItalianDoes it feature women, Italian cannibals, or black cannibals, or black

vampiresvampires??3.3. Has it got an eye-grabbing title (e.g. Has it got an eye-grabbing title (e.g. Satan’s SadistsSatan’s Sadists or or

The Beast with 1,000,000 Eyes)The Beast with 1,000,000 Eyes) that’s infinitely more that’s infinitely more memorable that the plotmemorable that the plot??

• If you answered “yes” to any two questions, you are If you answered “yes” to any two questions, you are watching a B movie, otherwise known as an watching a B movie, otherwise known as an “exploitation “exploitation film”.film”.

• The genre’s heyday came in the 60’s and 70’s with Roger The genre’s heyday came in the 60’s and 70’s with Roger Corman producing and attracting boomers ill-served by Corman producing and attracting boomers ill-served by the old studio system.the old studio system.

• Modern cinema has adopted the gimmickry and shock Modern cinema has adopted the gimmickry and shock tactics of the B Movie with: tactics of the B Movie with: e.g. Snakes on a Plane(2006), e.g. Snakes on a Plane(2006), 300(2007), Grindhouse(2007)300(2007), Grindhouse(2007)

Last Looks: GenreLast Looks: Genre• Genre movies have stories that share certain conventions in Genre movies have stories that share certain conventions in

the way they are told.the way they are told.• Genre movies are successful because they appeal to our love Genre movies are successful because they appeal to our love

of certain kinds of storytelling.of certain kinds of storytelling.• We bond with those who like the same kind of movies. We bond with those who like the same kind of movies.

(think “(think “Star WarsStar Wars”, “”, “Lord of the RingsLord of the Rings”)”)• Genres have helped the movie industry grow by giving Genres have helped the movie industry grow by giving

people what they want.people what they want.• Sometimes genre films result in formulaic approaches to Sometimes genre films result in formulaic approaches to

movies that include stereotypes and run-of-the-mill movies that include stereotypes and run-of-the-mill situations in all aspects of the story.situations in all aspects of the story.

• Genres stay vital when they expand and play with the Genres stay vital when they expand and play with the genre’s conventions sometimes forming a hybrid genre. genre’s conventions sometimes forming a hybrid genre.

• e.g. e.g. Kill Bill: Vol 1(2003Kill Bill: Vol 1(2003))

Q. Which of the following statements is Q. Which of the following statements is NOT true about genre?NOT true about genre?a) Genres avoid stereotyped filmic realities.a) Genres avoid stereotyped filmic realities.

b) Genres are defined by sets of conventions- aspects b) Genres are defined by sets of conventions- aspects of storytelling and aspects of visual style.of storytelling and aspects of visual style.

c) Because of the flexibility of genre, there is little c) Because of the flexibility of genre, there is little consensus about when a particular type of consensus about when a particular type of filmmaking deserves to be designated as a genre.filmmaking deserves to be designated as a genre.

d) Genre frequently overlap.d) Genre frequently overlap.

e) None of the above.e) None of the above.

Film SlangFilm Slang

• Exposition: lays the foundation for the storytelling, lays the foundation for the storytelling,

includes the images, action and dialogue necessary to includes the images, action and dialogue necessary to

give the audience the background of the characters and give the audience the background of the characters and

the nature of their situationthe nature of their situation

• Generic transformationGeneric transformation:: the process by which a the process by which a

particular genre is adapted to meet the expectations of a particular genre is adapted to meet the expectations of a

changing society. Genres that don’t evolve fade away.changing society. Genres that don’t evolve fade away.

e.g. The Western faded away in the 1960s transformed e.g. The Western faded away in the 1960s transformed

by the success of “by the success of “Brokeback MountainBrokeback Mountain”(2005)”(2005)

Nonfiction FilmsNonfiction Films

• The The nonfiction film=documentary filmnonfiction film=documentary film..• The nonfiction film is enjoying a renaissance The nonfiction film is enjoying a renaissance

that is unprecedented in its long history.that is unprecedented in its long history.• We might say that We might say that narrativenarrative and and nonfictionnonfiction

approaches to making movies have, in some approaches to making movies have, in some cases, cases, overlapped overlapped so significantly that they’ve so significantly that they’ve created a created a hybridhybrid..

• Today, many narrative movies incorporate Today, many narrative movies incorporate techniques that were once thought to be solely techniques that were once thought to be solely in the province of nonfiction, and vice versa. in the province of nonfiction, and vice versa.

Buzz WordBuzz Word

d-wordd-word ＼’＼’ d-wordd-word ＼＼ n: 1. industry n: 1. industry euphemism for documentary (as in: “We euphemism for documentary (as in: “We love your film but we don’t know how love your film but we don’t know how to sell it. It’s a d-word.”). SEE: catch to sell it. It’s a d-word.”). SEE: catch 22, self-fulfilling prophesy; 2. virtual 22, self-fulfilling prophesy; 2. virtual watering hole for those crazy enough to watering hole for those crazy enough to make d-words.make d-words.

Defining DocumentaryDefining Documentary

• ““creative treatment of actuality”creative treatment of actuality”…John Grierson…John Grierson

• Invites the spectator to draw socially critical conclusionsInvites the spectator to draw socially critical conclusions

• ““a work of art is a corner of Nature seen through a a work of art is a corner of Nature seen through a

temperamenttemperament”…Emile Zola”…Emile Zola

• a documentary is a corner of actuality seen through a a documentary is a corner of actuality seen through a

human temperamenthuman temperament

• a documentary is an organized story that exposes us to a documentary is an organized story that exposes us to

evidence that is contradictory and provocativeevidence that is contradictory and provocative

More on Defining DocumentaryMore on Defining Documentary

• Nonfiction film=documentaryNonfiction film=documentary• ““describing the world…life as it is, not how it might exist describing the world…life as it is, not how it might exist

in the imagination”…in the imagination”…Krzysztof Kieslowski Krzysztof Kieslowski

( Legendary Polish Director)( Legendary Polish Director)• Errol Morris, Werner Herzog, Michael Moore use their Errol Morris, Werner Herzog, Michael Moore use their

imaginations as much in their documentaries as they imaginations as much in their documentaries as they would a narrative film.would a narrative film.

• Given recent developments the narrative and nonfiction Given recent developments the narrative and nonfiction approaches to making movies have overlapped into a approaches to making movies have overlapped into a hybridhybrid form form

Four Basic Styles of Four Basic Styles of DocumentaryDocumentary

1.1. FactualFactual: usually present people, places or processes : usually present people, places or processes in a way meant to entertain and instruct without in a way meant to entertain and instruct without unduly influencing audiences.unduly influencing audiences.

2.2. InstructionalInstructional: seeks to educate viewers about : seeks to educate viewers about common interests rather than persuading.common interests rather than persuading.

3.3. DocumentaryDocumentary: conceived by British producer John : conceived by British producer John Grierson to address social injustice.Grierson to address social injustice.

4.4. PropagandaPropaganda: systematically disseminate descriptive : systematically disseminate descriptive or distorted information.or distorted information.

e.g. “e.g. “Triumph of the WillTriumph of the Will”-Leni Riefenstahl’s brilliant ”-Leni Riefenstahl’s brilliant film about the glory of Hitler and the Nazi Partyfilm about the glory of Hitler and the Nazi Party

Q. Which of the following is Q. Which of the following is NOT a type of nonfiction film?NOT a type of nonfiction film?

a) propagandaa) propaganda

b) avant-gardeb) avant-garde

c) documentaryc) documentary

d) factuald) factual

e) instructionale) instructional

Factual and Dramatic Aspects of Factual and Dramatic Aspects of Documentary Film IDocumentary Film I

Robert Flaherty’s Robert Flaherty’s Nanook of the NorthNanook of the North (1922), a pioneering nonfiction film, (1922), a pioneering nonfiction film,

established a debate that is still with us: does the use of storytelling and other established a debate that is still with us: does the use of storytelling and other

dramatic techniques compromise a factual film’s claims to authenticity and dramatic techniques compromise a factual film’s claims to authenticity and

historical accuracy? historical accuracy?

Flaherty spent years in the north living with the Eskimo, or Inuit, bringing his Flaherty spent years in the north living with the Eskimo, or Inuit, bringing his

camera and film laboratory into the field to record the lifestyle and hunting camera and film laboratory into the field to record the lifestyle and hunting

practices of this nomadic people. practices of this nomadic people.

After accidentally setting fire to his footage during the editing process (celluloid After accidentally setting fire to his footage during the editing process (celluloid

was extremely flammable in those days), Flaherty returned north and filmed a was extremely flammable in those days), Flaherty returned north and filmed a

second time. Released through Pathé, a French company with extensive second time. Released through Pathé, a French company with extensive

experience distributing international newsreels, the film became an international experience distributing international newsreels, the film became an international

success.success.

Factual and Dramatic Aspects Factual and Dramatic Aspects of Documentary Film IIof Documentary Film II

• We do not assume that a nonfiction film tells the “truth” We do not assume that a nonfiction film tells the “truth”

about its subject, because any act of filmmaking involves about its subject, because any act of filmmaking involves

mediation between filmmaker and subject.mediation between filmmaker and subject.

• Every aspect of filmmaking uses formal elements and Every aspect of filmmaking uses formal elements and

technical properties-such as narration, camera angles, technical properties-such as narration, camera angles,

editing, and music that alter the material being filmed.editing, and music that alter the material being filmed.

• Thus, a nonfiction film, even though it is about real Thus, a nonfiction film, even though it is about real

people, places and events is no more “true” than a people, places and events is no more “true” than a

fiction film.fiction film.

Q. Which of the following is true about Q. Which of the following is true about both fiction and nonfiction films?both fiction and nonfiction films?

a) They involve either love or crime.a) They involve either love or crime.

b) They are completely contrived.b) They are completely contrived.

c) They must tell good stories.c) They must tell good stories.

d) They are always based on real people, places, and d) They are always based on real people, places, and

events.events.

e) They involve mediation between filmmaker and subject.e) They involve mediation between filmmaker and subject.

Factual and Dramatic Aspects of Factual and Dramatic Aspects of Documentary Film IIIDocumentary Film III

Some fiction films seem quite honest and true and some nonfiction films Some fiction films seem quite honest and true and some nonfiction films seem duplicitous. Because both types of filmmaking may employ similar seem duplicitous. Because both types of filmmaking may employ similar equipment, techniques, and traditions (cameras, editing, sound tracks, equipment, techniques, and traditions (cameras, editing, sound tracks, directors, on-location shooting), it can be difficult to isolate the essential directors, on-location shooting), it can be difficult to isolate the essential differences between the two types. differences between the two types.

Furthermore, fiction films and nonfiction films influence filmmakers and Furthermore, fiction films and nonfiction films influence filmmakers and the culture at large and so go on to influence each other; some fiction films the culture at large and so go on to influence each other; some fiction films incorporate factual, instructional, documentary, and even propaganda incorporate factual, instructional, documentary, and even propaganda filmmaking techniques, and some nonfiction films employ methods straight filmmaking techniques, and some nonfiction films employ methods straight out oh Hollywood. out oh Hollywood.

“ “Mockumentaries” such as Rob Reiner’s seminal Mockumentaries” such as Rob Reiner’s seminal This Is Spinal TapThis Is Spinal Tap (1984) and Christopher Guest’s (1984) and Christopher Guest’s A Mighty WindA Mighty Wind (2005), and fiction films (2005), and fiction films such as Haskell Wexler’s such as Haskell Wexler’s Medium CoolMedium Cool (1969) and Robert Altman’s (1969) and Robert Altman’s Tanner ´88Tanner ´88 (1988) and (1988) and Tanner on TannerTanner on Tanner (2004), which inserts actors into (2004), which inserts actors into footage of real events, remind us of just how fluid the boundary between footage of real events, remind us of just how fluid the boundary between “real” and “staged” can be.“real” and “staged” can be.

Factual and Dramatic Aspects of Factual and Dramatic Aspects of Documentary Film IVDocumentary Film IV

Indeed, we might say that fiction films and nonfiction Indeed, we might say that fiction films and nonfiction films differ primarily in terms of allegiance: fiction films films differ primarily in terms of allegiance: fiction films begin with an allegiance to dramatic storytelling, but begin with an allegiance to dramatic storytelling, but nonfiction films begin with allegiances to the recording of nonfiction films begin with allegiances to the recording of reality (factual films), the education of viewers reality (factual films), the education of viewers (documentary films). (documentary films).

Whatever their allegiance, all nonfiction filmmakers Whatever their allegiance, all nonfiction filmmakers employ storytelling and dramatization to some degree in employ storytelling and dramatization to some degree in shaping their material. If they didn’t, their footage might shaping their material. If they didn’t, their footage might end up as unwatchable and dull as a surveillance video end up as unwatchable and dull as a surveillance video recording everyday comings and goings.recording everyday comings and goings.

Explaining Direct CinemaExplaining Direct Cinema

In the 1960s, a group of documentary filmmakers took advantage In the 1960s, a group of documentary filmmakers took advantage

of portable handheld 16mm cameras, cheap light-sensitive film of portable handheld 16mm cameras, cheap light-sensitive film

stock (which allowed filming without supplementary light), and stock (which allowed filming without supplementary light), and

lightweight sound-recording equipment to create a new style of lightweight sound-recording equipment to create a new style of

documentary film they called “documentary film they called “direct cinemadirect cinema.” .”

Directors such as D.A. Pennebaker, Albert and David Maysles, Directors such as D.A. Pennebaker, Albert and David Maysles,

and Frederick Wiseman sought to create a more spontaneous form and Frederick Wiseman sought to create a more spontaneous form

of nonfiction film that immersed its audience in a more “direct” of nonfiction film that immersed its audience in a more “direct”

experience of the subject.experience of the subject.

The Art of Direct CinemaThe Art of Direct Cinema The film that heralded this breakthrough was 1960’s The film that heralded this breakthrough was 1960’s PRIMARYPRIMARY, ,

a collective effort of Robert Drew, Richard Leacock, D.A a collective effort of Robert Drew, Richard Leacock, D.A

Pennebaker, and Albert Maysles, among others (known as Drew Pennebaker, and Albert Maysles, among others (known as Drew

Associates), which captured the inner workings of the John F. Associates), which captured the inner workings of the John F.

Kennedy and Hubert Humphrey campaigns during that year’s Kennedy and Hubert Humphrey campaigns during that year’s

presidential primary. presidential primary.

These filmmakers all went on to have distinguished careers of These filmmakers all went on to have distinguished careers of

their own, creating seminal direct cinema documentaries that their own, creating seminal direct cinema documentaries that

today stand as benchmarks of the craft.today stand as benchmarks of the craft.

Filmmaker Albert MayslesFilmmaker Albert Maysles

Albert Maysles has made portraits of famous people Albert Maysles has made portraits of famous people like John F. Kennedy and the Rolling Stones. But like John F. Kennedy and the Rolling Stones. But Albert Maysles is probably best known because he Albert Maysles is probably best known because he makes astonishing films about ordinary lives. makes astonishing films about ordinary lives.

Back in the 1960s, Maysles was one of the first Back in the 1960s, Maysles was one of the first filmmakers who harnessed a new generation of filmmakers who harnessed a new generation of lightweight documentary cameras. Maysles used lightweight documentary cameras. Maysles used them to peer into people’s souls in a way that nobody them to peer into people’s souls in a way that nobody had ever done before.had ever done before.

Filmmaker Fredrick WisemanFilmmaker Fredrick Wiseman• Wiseman has made 35 documentaries since leaving his job as a law Wiseman has made 35 documentaries since leaving his job as a law

professor in 1967 to film professor in 1967 to film TITICUT FOLLIESTITICUT FOLLIES, about a Massachusetts , about a Massachusetts asylum for the criminally insane, which was banned in the United asylum for the criminally insane, which was banned in the United States for 25 years. Most of his films are involved meditative studies States for 25 years. Most of his films are involved meditative studies of social institutions and systems.of social institutions and systems.

• Major Films: Major Films: TITICUT FOLLIESTITICUT FOLLIES (1967)- Frederick Wiseman’s (1967)- Frederick Wiseman’s TitticuTitticut t Follies Follies exposes the inhumane treatment of inmates inside a exposes the inhumane treatment of inmates inside a Massachusetts asylum for the criminally insane. The film was the Massachusetts asylum for the criminally insane. The film was the subject of a lawsuit and was eventually banned, but it also sparked an subject of a lawsuit and was eventually banned, but it also sparked an outcry that led to the closing of the facility.outcry that led to the closing of the facility.

• HIGH SCHOOL (1969)HIGH SCHOOL (1969)• WELFARE (1975)WELFARE (1975)• THE STORE (1983)THE STORE (1983)• ZOO (1993)ZOO (1993)• PUBLIC HOUSING (1997)PUBLIC HOUSING (1997)• DOMESTIC VIOLENCE (2002DOMESTIC VIOLENCE (2002))

Barbara Kopple: Direct Cinema in Barbara Kopple: Direct Cinema in Service of Political CritiqueService of Political Critique

• Major Films: (Major Films: (Harlan County USA 1977), American Dream (1991)Harlan County USA 1977), American Dream (1991)• Fallen Champ: The Untold Story of Mike Tyson (1993), Wild Man Fallen Champ: The Untold Story of Mike Tyson (1993), Wild Man

Blues (1997)Blues (1997) In In Harlan CountyHarlan County, at first nobody trusted us and the women gave us , at first nobody trusted us and the women gave us

phony names. They called themselves Martha Washington and Florence phony names. They called themselves Martha Washington and Florence Nightingale, and they said, “OK, you can be on the picket line tomorrow; Nightingale, and they said, “OK, you can be on the picket line tomorrow; you have to be there at 5 A.M. in the morning.”you have to be there at 5 A.M. in the morning.”

““We were staying in a little motel on this huge mountain; it had no guard We were staying in a little motel on this huge mountain; it had no guard rails and it was pouring rain and a car came and went past us and rails and it was pouring rain and a car came and went past us and our our car flipped over, and, um, we were all OK. We just crawled out in the car flipped over, and, um, we were all OK. We just crawled out in the pouring rain and walked to the picket line with all our equipment. News pouring rain and walked to the picket line with all our equipment. News travels fast in, you know, these little areas in the coal fields and after that travels fast in, you know, these little areas in the coal fields and after that happened they knew that we were all right.”happened they knew that we were all right.”

Barbara Kopple, interview from Barbara Kopple, interview from Independent ViewIndependent View

Barbara Kopple: Barbara Kopple: Harlan CountyHarlan County

Barbara Kopple’s Barbara Kopple’s Harlan County USAHarlan County USA won the won the Academy AwardAcademy Award for Best for Best

Feature Documentary in 1977 and is included in the Feature Documentary in 1977 and is included in the National FilmNational Film Registry of Registry of

American Film ClassicsAmerican Film Classics. The film documents a year-long Kentucky coal . The film documents a year-long Kentucky coal

miners’ strike in 1973-74. risking her life and the lives of her crew, Kopple miners’ strike in 1973-74. risking her life and the lives of her crew, Kopple

aligned herself with the United Mine Workers of America, who were aligned herself with the United Mine Workers of America, who were

intimidated and sometimes shot at by strikebreakers for the Eastover Mining intimidated and sometimes shot at by strikebreakers for the Eastover Mining

Company. Company.

During the film, Kopple’s cameras begin to focus on the coal miners’ wives, During the film, Kopple’s cameras begin to focus on the coal miners’ wives,

who encourage, cajole, and chastise their men to maintain the strike, walk the who encourage, cajole, and chastise their men to maintain the strike, walk the

picket lines, and hold their families and communities together. To contrast and picket lines, and hold their families and communities together. To contrast and

connect past labor struggles with the present one, Kopple uses footage of and connect past labor struggles with the present one, Kopple uses footage of and

ballads from strikes of the 1930s and 1940s – when the region was dubbed ballads from strikes of the 1930s and 1940s – when the region was dubbed

“bloody Harlan County.”.“bloody Harlan County.”.

Direct Cinema (Cinema Verite)Direct Cinema (Cinema Verite) Kopple’s Kopple’s Harlan County USAHarlan County USA is a powerful example of the nonfiction is a powerful example of the nonfiction

filmmaking style direct cinema. While many documentaries include onscreen filmmaking style direct cinema. While many documentaries include onscreen

or over-the-shoulder interviewers having conversations with subjects (as in the or over-the-shoulder interviewers having conversations with subjects (as in the

short films on television’s “short films on television’s “60 Minutes”60 Minutes”), direct cinema documentaries eschew ), direct cinema documentaries eschew

interviewers and even limit the use of narrators. interviewers and even limit the use of narrators.

Instead of having voice-over narration to encourage the audience’s indignation Instead of having voice-over narration to encourage the audience’s indignation

about the crime, scandal, or corruption being exposed, direct cinema involves about the crime, scandal, or corruption being exposed, direct cinema involves

the placement of small, portable cameras and sound recording equipment in an the placement of small, portable cameras and sound recording equipment in an

important location for days or weeks, recording events as they occur. important location for days or weeks, recording events as they occur.

The resulting documentary may never include a question from an interviewer; The resulting documentary may never include a question from an interviewer;

instead, it enables the audience to overhear conversations and interactions as instead, it enables the audience to overhear conversations and interactions as

they happen.they happen.

Errol Morris: The Self-Reflexively Artful Errol Morris: The Self-Reflexively Artful Documentary and the Philosophical Quest IDocumentary and the Philosophical Quest I

• Major films: Major films: OEUVREOEUVRE• Gates of Heaven (1978)Gates of Heaven (1978)• Vernon, Florida (1981)Vernon, Florida (1981)• The Thin Blue Line (1988The Thin Blue Line (1988))• A Brief History of Time (1991)A Brief History of Time (1991)• Fast, Cheap and Out of Control (1997)Fast, Cheap and Out of Control (1997)• Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999)Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999)• The Fog of War: Eleven Lessons from the Life of Robert S. McNamara. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara.

(2003)(2003) The form Morris uses for his existential explorations [in The form Morris uses for his existential explorations [in The Thin BlueThe Thin Blue

Line]Line] is a new one – a sort of documentary thriller. And his method, is a new one – a sort of documentary thriller. And his method, which marries a True Detective sensibility to the fact-gathering which marries a True Detective sensibility to the fact-gathering techniques of the documentarian, keeps asking us to make comparisons techniques of the documentarian, keeps asking us to make comparisons between art and reality. On the surface, the film is a James M. Cain tale between art and reality. On the surface, the film is a James M. Cain tale told “Rashomon” style – a single dramatic event seen from multiple told “Rashomon” style – a single dramatic event seen from multiple points of view.points of view.

Hal Hinson, Hal Hinson, The Washington PostThe Washington Post, September 2, 1988, September 2, 1988

Errol Morris: The Self-Reflexively Artful Errol Morris: The Self-Reflexively Artful Documentary and the Philosophical Quest IDocumentary and the Philosophical Quest I

• Bold and brilliant, some might say reckless, Morris’s defense of convicted Bold and brilliant, some might say reckless, Morris’s defense of convicted prisoner Randall Dale Adams might not stand up in a court of law, or a prisoner Randall Dale Adams might not stand up in a court of law, or a screening room of documentary purists. But it would transfix the lot.screening room of documentary purists. But it would transfix the lot.

• Morris takes the hybrid docudrama genre to its outer limits, intercutting Morris takes the hybrid docudrama genre to its outer limits, intercutting newspaper headlines, bullet-wound diagrams and Texas road maps with newspaper headlines, bullet-wound diagrams and Texas road maps with grade-B film noir fare: a hypnotist’s swinging watch, overstuffed ashtrays, grade-B film noir fare: a hypnotist’s swinging watch, overstuffed ashtrays, smoking guns and repeated replays of the incident that changed Adams’ life smoking guns and repeated replays of the incident that changed Adams’ life – the fatal shooting of Dallas police officer Robert Wood in cold blood one – the fatal shooting of Dallas police officer Robert Wood in cold blood one November night in 1976. The dramatic embellishments, which include a November night in 1976. The dramatic embellishments, which include a pointedly eerie score by Philip Glass and Morris’s chilling final “kicker,” pointedly eerie score by Philip Glass and Morris’s chilling final “kicker,” fly in the face of “objective” fact-finding. But fly in the face of “objective” fact-finding. But Thin Blue LineThin Blue Line earns its earns its documentary impact with the impassioned testimony of real people documentary impact with the impassioned testimony of real people involved in the case.involved in the case.

Desson Howe, Desson Howe, The Washington PostThe Washington Post, September 2, 1988, September 2, 1988

Errol Morris: Errol Morris: The Thin Blue LineThe Thin Blue Line (1988) (1988) Most significantly, Most significantly, The Thin Blue LineThe Thin Blue Line utilizes many sophisticated lighting, utilizes many sophisticated lighting,

staging, and editing effects familiar from fictional feature films. staging, and editing effects familiar from fictional feature films.

For example, when two people being interviewed mention films, Morris cuts to For example, when two people being interviewed mention films, Morris cuts to

brief clips of the films. brief clips of the films.

As various witnesses describe the events leading up to the murder and each As various witnesses describe the events leading up to the murder and each

presents conflicting details, Morris presents a series of different highly stylized presents conflicting details, Morris presents a series of different highly stylized

reenactments. reenactments.

At one point, the getaway car and its license plate appear in many varieties, At one point, the getaway car and its license plate appear in many varieties,

illustrating the diversity and confusion of “eyewitness” accounts. By combining illustrating the diversity and confusion of “eyewitness” accounts. By combining

the documentarian’s dogged persistence for getting at some kind of truth with a the documentarian’s dogged persistence for getting at some kind of truth with a

catalog of filmmaking techniques that includes those of the fictional film, Morris catalog of filmmaking techniques that includes those of the fictional film, Morris

invites us to explore a new kind of documentary that challenges the distinction invites us to explore a new kind of documentary that challenges the distinction

between fact and fiction.between fact and fiction.

Ken Burns: Folk History and Ken Burns: Folk History and the Voices of Authoritythe Voices of Authority

• Major filmsMajor films: : • Brooklyn Bridge (1981)Brooklyn Bridge (1981)• The Civil War (1990)The Civil War (1990)• Baseball (1994)Baseball (1994)• The West (1996)The West (1996)• Thomas Jefferson (1997)Thomas Jefferson (1997)• Frank Lloyd Wright (2001)Frank Lloyd Wright (2001)• Mark Twain (2001)Mark Twain (2001)• Jazz (2001)Jazz (2001)• In 1990, Burns completed what many consider his “chef d’ oeuvre”: the eleven-In 1990, Burns completed what many consider his “chef d’ oeuvre”: the eleven-

hour hour The Civil WarThe Civil War, which earned an Emmy (among other honors) and became , which earned an Emmy (among other honors) and became the highest rated miniseries in the history of public television. the highest rated miniseries in the history of public television. Civil WarCivil War was the was the apotheosis of Burns’ master mixture of still photos, freshly shot film footage, apotheosis of Burns’ master mixture of still photos, freshly shot film footage, period music, evocative “celebrity” narration and authentic sound effects.period music, evocative “celebrity” narration and authentic sound effects.

Hal Erickson, Hal Erickson, All Movie GuideAll Movie Guide

Ken Burns: Folk History IIKen Burns: Folk History II Working on the borderline between factual filmmaking and Working on the borderline between factual filmmaking and

documentary filmmaking, Ken Burns seeks to bring history documentary filmmaking, Ken Burns seeks to bring history alive, presenting historical documents, photographs, locations, alive, presenting historical documents, photographs, locations, and artifacts to public-television audiences in an exciting and and artifacts to public-television audiences in an exciting and inspiring style.inspiring style.

Burns’s approach to history balances the traditional biographical Burns’s approach to history balances the traditional biographical concern with “great men” and leaders with the more concern with “great men” and leaders with the more contemporary interest in “bottom-up” explorations of working contemporary interest in “bottom-up” explorations of working people, minorities, and average citizens. people, minorities, and average citizens.

One measure of his success in striking the right balance is that One measure of his success in striking the right balance is that his multipart series his multipart series The Civil WarThe Civil War and and BaseballBaseball were the most were the most widely seen shows ever on public television. Both reaching widely seen shows ever on public television. Both reaching over over fortyforty million viewers. million viewers.

Ken Burns: In His Own WordsKen Burns: In His Own Words

Burns describes his filmmaking style as: the Burns describes his filmmaking style as: the careful use of archival photographs, live modern careful use of archival photographs, live modern cinematography, music, narration, and a chorus cinematography, music, narration, and a chorus of first-person voices that together did more than of first-person voices that together did more than merely recount a historical story. It was merely recount a historical story. It was something that also became a kind of “emotional something that also became a kind of “emotional archaeology,” trying to unearth the very heart of archaeology,” trying to unearth the very heart of the American experience; listening to the ghosts the American experience; listening to the ghosts and echoes of an almost inexpressibly wise past. and echoes of an almost inexpressibly wise past. (“Why I Decided to Make The Civil War”) (“Why I Decided to Make The Civil War”)

Michael Moore: Impresario with Michael Moore: Impresario with a Cameraa Camera

• OeuvreOeuvre: : The Big One (1997), Roger and Me (1989), The Big One (1997), Roger and Me (1989), Bowling for Columbine (2002), Fahrenheit 9/11 (2004), Bowling for Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007)Sicko (2007)

Since his 1989 debut with “Since his 1989 debut with “Roger and MeRoger and Me,” Michael ,” Michael Moore – gadfly, provocateur, muckraker, authority-Moore – gadfly, provocateur, muckraker, authority-questioner – has perfected what some might call an art, questioner – has perfected what some might call an art, others a shtick. Posing as a latter-day others a shtick. Posing as a latter-day CandideCandide, naively , naively bumbling around America’s hinterland to uncover the bumbling around America’s hinterland to uncover the depredations of crony capitalism, he has entertained a depredations of crony capitalism, he has entertained a devoted audience with mocking portraits of the corporate devoted audience with mocking portraits of the corporate class, all the time casting himself as the noble voice of class, all the time casting himself as the noble voice of pure reason.pure reason.Ann Hornaday, Ann Hornaday, The Washington PostThe Washington Post, October 18,2002, October 18,2002

Michael Moore:Michael Moore: While there will always be a debate about the authenticity of Michael While there will always be a debate about the authenticity of Michael

Moore’s documentary techniques, there’s no arguing that Moore’s documentary techniques, there’s no arguing that Bowling for Bowling for ColumbineColumbine succeeds equally well as a provocative essay on gun violence succeeds equally well as a provocative essay on gun violence in America and an opportunity for the writer/director to engage in some in America and an opportunity for the writer/director to engage in some heavy self-promotion. Whether you like him or hate him, it’s impossible heavy self-promotion. Whether you like him or hate him, it’s impossible to deny Moore’s charisma and persuasiveness as a showman. He takes a to deny Moore’s charisma and persuasiveness as a showman. He takes a thesis and runs with it, and, while some of his conclusions may be a little thesis and runs with it, and, while some of his conclusions may be a little farfetched, his probing often pays unexpected dividends.farfetched, his probing often pays unexpected dividends.

Viewers attending a Moore film should be aware that the director has a Viewers attending a Moore film should be aware that the director has a history of “faking” scenes. So, unlike in a more traditional documentary, history of “faking” scenes. So, unlike in a more traditional documentary, not everything that appears on screen can be believed. Moore is skillful not everything that appears on screen can be believed. Moore is skillful enough that we don’t recognize when we’re being fooled. It took a enough that we don’t recognize when we’re being fooled. It took a Film Film CommentComment exposé by Harlan Jacobson to unearth all of the behind-the- exposé by Harlan Jacobson to unearth all of the behind-the-scenes shenanigans in scenes shenanigans in Roger and MeRoger and Me. When Moore starts barging into . When Moore starts barging into houses in Toronto to determine whether Canadians keep their doors houses in Toronto to determine whether Canadians keep their doors locked, this could easily have been arranged before the cameras rolled. locked, this could easily have been arranged before the cameras rolled. We just don’t know. Moore claims one thing; his history argues another.We just don’t know. Moore claims one thing; his history argues another.

.....James Berardinelli (Film Critic).....James Berardinelli (Film Critic)

Michael Moore:Michael Moore: Like Errol Morris and Ken Burns, Michael Moore has developed a style Like Errol Morris and Ken Burns, Michael Moore has developed a style

of nonfiction filmmaking that defines itself against the mainstream. of nonfiction filmmaking that defines itself against the mainstream.

Moore’s darkly humorous, self-aggrandizing style of muckraking Moore’s darkly humorous, self-aggrandizing style of muckraking

documentary has won over many filmgoers and perhaps outraged just as documentary has won over many filmgoers and perhaps outraged just as

many. Blatantly outspoken in his leftist political convictions, irreverent many. Blatantly outspoken in his leftist political convictions, irreverent

toward any and all sacred cows, the sloppily dressed Moore serves as the toward any and all sacred cows, the sloppily dressed Moore serves as the

comical and sarcastic center of all his films. comical and sarcastic center of all his films.

In In Roger andRoger and MeMe, Moore is the “Me” who goes on a quest to interview , Moore is the “Me” who goes on a quest to interview

Roger Smith, the General Motors CEO who oversaw the deactivation of Roger Smith, the General Motors CEO who oversaw the deactivation of

the GM plant in Moore’s hometown of Flint, Michigan. In the GM plant in Moore’s hometown of Flint, Michigan. In Bowling for Bowling for

ColumbineColumbine, Moore seeks to understand the high rate of gun assault and , Moore seeks to understand the high rate of gun assault and

murder in the United States, venturing far beyond single, common murder in the United States, venturing far beyond single, common

answers in his analysis.answers in his analysis.

Controversial Nonfiction FilmsControversial Nonfiction Films• Tupac: ResurrectionTupac: Resurrection (2003)- (2003)- about the life of Rap star Tupac about the life of Rap star Tupac

Shakur gunned down in Las Vegas. Shakur gunned down in Las Vegas. • (director: Lauren Lazin)(director: Lauren Lazin)• Walmart: The High Cost of Low PriceWalmart: The High Cost of Low Price (2005)- (2005)- an attack on an attack on

Walmart policies. Walmart policies. • (director: Robert Greenwald)(director: Robert Greenwald)• Super Size MeSuper Size Me (2004) (2004) an attack on fast food culture. an attack on fast food culture. • (director: Morgan Spurlock)(director: Morgan Spurlock)• Grizzly ManGrizzly Man (2005) (2005) the story of Timothy Treadwell who lives the story of Timothy Treadwell who lives

with and is eaten by a bear. with and is eaten by a bear. • director: Werner Herzog)director: Werner Herzog)• Zoo Zoo (2007)(2007) a film about a real-life case of bestiality which tries a film about a real-life case of bestiality which tries

to get beyond the uncomfortable laughter.to get beyond the uncomfortable laughter.• (director: Robinson Devor)(director: Robinson Devor)

Animated FilmsAnimated Films• Next to narrative films, animation is today the second most Next to narrative films, animation is today the second most

popular type of film with audiences.popular type of film with audiences.

• Before computer- generated imagery (CGI), which accounts for Before computer- generated imagery (CGI), which accounts for

virtually all animated films today, animated films (or cartoons) virtually all animated films today, animated films (or cartoons)

were made by photographing drawings were made by photographing drawings frame by frameframe by frame with a with a

special animation camera.special animation camera.

• Making a traditional animated film is an arduous task and Making a traditional animated film is an arduous task and

requires 24 individual drawings for each second of film or requires 24 individual drawings for each second of film or

14,400=10 minutes.14,400=10 minutes.

Evolution of Animation TechniquesEvolution of Animation Techniques While there are countless possible types and combinations of animation, While there are countless possible types and combinations of animation,

three basic types are used widely today: hand-drawn, stop motion, and three basic types are used widely today: hand-drawn, stop motion, and

digital.digital.

1.1. To create To create hand- drawnhand- drawn animation, animators draw or paint images that animation, animators draw or paint images that

are then photographed one frame at a time in a film camera. Since are then photographed one frame at a time in a film camera. Since

twenty- four frames equal one second of film time, animators must draw twenty- four frames equal one second of film time, animators must draw

twenty- four separate pictures to achieve one second of animation.twenty- four separate pictures to achieve one second of animation.

2.2. Stop motionStop motion records the movement of objects (toys, puppets, clay figures, records the movement of objects (toys, puppets, clay figures,

or cutouts) with a film camera; the animator moves the objects slightly or cutouts) with a film camera; the animator moves the objects slightly

for each recorded frame.for each recorded frame.

3.3. Digital animation,Digital animation, which may begin with drawings, storyboards, puppets, which may begin with drawings, storyboards, puppets,

and all the traditional tools of theater and animation, uses the virtual and all the traditional tools of theater and animation, uses the virtual

world of computer-modeling software to generate the animation.world of computer-modeling software to generate the animation.

Hand-DrawnHand-Drawn• In 1914, Winsor McCay’s classic animation “In 1914, Winsor McCay’s classic animation “Gertie the DinosaurGertie the Dinosaur” required over ” required over

five thousand drawings on separate sheets of paperfive thousand drawings on separate sheets of paper

• The difficulty of achieving fluid movement by perfectly matching and aligning so The difficulty of achieving fluid movement by perfectly matching and aligning so

many characters and backgrounds led, the next year, to the development of many characters and backgrounds led, the next year, to the development of cel cel

animationanimation. .

• Animator Earl Hurd used clear celluloid sheets to create single backgrounds that Animator Earl Hurd used clear celluloid sheets to create single backgrounds that

could serve for multiple exposures of his main character. Thus he needed to draw could serve for multiple exposures of his main character. Thus he needed to draw

only the part of the image that was in motion, typically the character or a small only the part of the image that was in motion, typically the character or a small

part of the character.part of the character.

• Although the highly flammable celluloid first used for this process has now been Although the highly flammable celluloid first used for this process has now been

replaced by acetate, this type of animation is still called “replaced by acetate, this type of animation is still called “cel”cel” animationanimation. Until the . Until the

advent of digital animation, this method was used to create nearly advent of digital animation, this method was used to create nearly all feature-length all feature-length

animated films.animated films.

Stop MotionStop Motion

Among the first American stop-motion films was Among the first American stop-motion films was The Dinosaur and the Missing LinkThe Dinosaur and the Missing Link, a , a Prehistoric Prehistoric TragedyTragedy (1915), by Willis O’Brien, who went on (1915), by Willis O’Brien, who went on to animate stop-motion dinosaurs for Harry O. to animate stop-motion dinosaurs for Harry O. Hoyt’s live-action adventure Hoyt’s live-action adventure The Lost WorldThe Lost World (1925), then added giant apes to his repertoire (1925), then added giant apes to his repertoire with Merian C. Cooper and Ernest B. with Merian C. Cooper and Ernest B. Schoedsack’s Schoedsack’s King KongKing Kong (1933), and (1933), and Schoedsack’s Schoedsack’s Mighty Joe YoungMighty Joe Young (1949). (1949).

Digital AnimationDigital Animation• John Lasseter’s John Lasseter’s Toy StoryToy Story (1995) was the first (1995) was the first

feature-length digitally animated film. A commercial feature-length digitally animated film. A commercial and critical success, it humanized computer and critical success, it humanized computer animation and obliterated the fear that computer animation and obliterated the fear that computer animation was limited to shiny, abstract objects animation was limited to shiny, abstract objects floating in strange worlds. floating in strange worlds.

• Toy Story’sToy Story’s focus on plastic toys, however, helped focus on plastic toys, however, helped disguise the limitations of early digital-animation disguise the limitations of early digital-animation techniques.techniques.

• Five more years of development enabled digitally Five more years of development enabled digitally animated movies such as Andrew Adamson and animated movies such as Andrew Adamson and Vicky Jenson’s Vicky Jenson’s ShrekShrek (2001) to present compelling (2001) to present compelling characters with visually interesting skin, hair, and fur characters with visually interesting skin, hair, and fur that strive for three-dimensional realism.that strive for three-dimensional realism.

The Best of Animation and Anime The Best of Animation and Anime

• The best means not only features like the cream of Pixar’s The best means not only features like the cream of Pixar’s crop but also Sylvain Chomet’s “crop but also Sylvain Chomet’s “The Triplets of The Triplets of Belleville”Belleville” (2002) or Hayao Miyazaki’s dreamlike (2002) or Hayao Miyazaki’s dreamlike masterpiece “masterpiece “Spirited Away” (2001). Spirited Away” (2001).

• Images made in the Japanese style of animation called Images made in the Japanese style of animation called anime are based on Japanese manga comic books and based on Japanese manga comic books and feature characters from that culture.feature characters from that culture.

• The same goes for “The same goes for “PaprikaPaprika” (2006)- a Japanese anime ” (2006)- a Japanese anime extravaganza whose tumbling succession of bizarre extravaganza whose tumbling succession of bizarre images may well be the most eloquent visualization of the images may well be the most eloquent visualization of the dream state in film history.dream state in film history.

The Best of Animation and Anime IIThe Best of Animation and Anime II

• The defining characteristic of the The defining characteristic of the anime styleanime style is so- is so-called limited animation that looks like graphic called limited animation that looks like graphic novels come to life. e.g. “novels come to life. e.g. “Sin CitySin City” (2005)” (2005)

• Robert Zemeckis’ digitally enhanced live action in Robert Zemeckis’ digitally enhanced live action in ““Polar ExpressPolar Express” (2004) was a work in progress but ” (2004) was a work in progress but his his BeowulfBeowulf (2007) utilizes motion capture (2007) utilizes motion capture technology and 3-D technology to show where the technology and 3-D technology to show where the movie business is headed.movie business is headed.

• James Cameron’s James Cameron’s Avatar Avatar (2009) is exploring motion (2009) is exploring motion capture and 3-D as well.capture and 3-D as well.

The Best of Animation and Anime IIIThe Best of Animation and Anime III

• Animated works to screen include:Animated works to screen include:

1.1. ““TronTron” (1982): this sci-fi thriller is the ” (1982): this sci-fi thriller is the granddaddy of computer animated filmsgranddaddy of computer animated films

2.2. ““Chicken RunChicken Run” (2000): wonderful clay ” (2000): wonderful clay animation.animation.

3.3. ““Corpse BrideCorpse Bride” (2005): stop motion ” (2005): stop motion puppetry gem.puppetry gem.

Q. Which of the following is a way of Q. Which of the following is a way of making an animated film?making an animated film?

a.a. Puppet animationPuppet animation

b.b. Clay animationClay animation

c.c. Computer animationComputer animation

d.d. PixilationPixilation

e.e. All of the aboveAll of the above

Explaining Experimental FilmsExplaining Experimental Films• Experimental films are also known as avant-Experimental films are also known as avant-

garde films (literally in the “front rank), are garde films (literally in the “front rank), are films in the vanguard that push the boundaries films in the vanguard that push the boundaries of what most people think that movies should of what most people think that movies should be.be.

• ““We don’t want false, polished slick films-we We don’t want false, polished slick films-we prefer them rough, unpolished, but alive; we prefer them rough, unpolished, but alive; we don’t want rosy films-we want them the color don’t want rosy films-we want them the color of blood”....Statement of the New American of blood”....Statement of the New American Cinema GroupCinema Group

Explaining Experimental Films IIExplaining Experimental Films II• Many experimental films do not follow the Many experimental films do not follow the

realist-narrative construct of the mainstream realist-narrative construct of the mainstream film industry but use non-linear patterns of film industry but use non-linear patterns of development, abstract images or images created development, abstract images or images created by drawing on film stock.by drawing on film stock.

• Experimental films explore film form, function Experimental films explore film form, function and content in an individualistic and and content in an individualistic and idiosyncratic manner much like that of a painter, idiosyncratic manner much like that of a painter, dancer or a poet.dancer or a poet.

Q. What makes experimental films Q. What makes experimental films “experimental”?“experimental”?a.a. They are made by independent filmmakers.They are made by independent filmmakers.

b.b. They are short “vignettes” instead of full-length features.They are short “vignettes” instead of full-length features.

c.c. They use the cinematic equivalent of stream of They use the cinematic equivalent of stream of consciousness.consciousness.

d.d. They push the boundaries of what most people think the They push the boundaries of what most people think the movies are or should be.movies are or should be.

e.e. They are based on paintings.They are based on paintings.

Maya DerenMaya Deren

• America’s first major experimental filmmaker America’s first major experimental filmmaker

famous for the surreal film: “famous for the surreal film: “Meshes of the Meshes of the

Afternoon” (1943).Afternoon” (1943).

• The film was a blend of dance, philosophy, The film was a blend of dance, philosophy,

ethnography and was the cinematic equivalent ethnography and was the cinematic equivalent

of of stream of consciousnessstream of consciousness trying to capture trying to capture

the unedited flow of experience through the the unedited flow of experience through the

mind (much like mind (much like ProustProust in Literature) in Literature)

4 Subgenres of Experimental Film4 Subgenres of Experimental Film1.1. The FormalThe Formal: form is the overall system of : form is the overall system of

relationships among elements that make up the whole relationships among elements that make up the whole film. John Whitney’s computer imagery in film. John Whitney’s computer imagery in MatrixMatrix (1971)(1971)

2.2. Self-ReflexiveSelf-Reflexive: those that represent their own : those that represent their own conditions of production. Stan Brakhage’s conditions of production. Stan Brakhage’s Dog Star Dog Star ManMan (1962-64); Michael Snow’s (1962-64); Michael Snow’s WavelengthWavelength (1967) (1967)

3.3. SatiricalSatirical: the use of humor to criticize. Mike : the use of humor to criticize. Mike Kuchar’s Kuchar’s Sins of the FleshapoidsSins of the Fleshapoids (1965) (1965)

4.4. SexualSexual: the exposure of hidden sexual practices. Jack : the exposure of hidden sexual practices. Jack Smith’s Smith’s Flaming CreaturesFlaming Creatures (1963) deemed (1963) deemed pornographic! Kenneth Anger’s gay fantasy pornographic! Kenneth Anger’s gay fantasy Scorpio Scorpio RisingRising (1964) (1964)

Summary: What is a Movie?Summary: What is a Movie?

• A movie is a story or event recorded by a camera, A movie is a story or event recorded by a camera, camcamputer (or image capture computer); a sequence of puter (or image capture computer); a sequence of these photographs or images is projected onto a these photographs or images is projected onto a screen with sufficient speed to create the illusion of screen with sufficient speed to create the illusion of motion and continuity.motion and continuity.

• Movies depend on photography and, thus, on light.Movies depend on photography and, thus, on light.• Movies manipulate space and time in ways that no Movies manipulate space and time in ways that no

other art form can.other art form can.• In a movie, the relationship between its form and In a movie, the relationship between its form and

content is central to its existence.content is central to its existence.

Summary: What is a Movie? IISummary: What is a Movie? II

• A movie can create a sense of realism and or A movie can create a sense of realism and or antirealism, but it should also create antirealism, but it should also create verisimilitude.verisimilitude.

• A movie creates its effects and meanings A movie creates its effects and meanings through a unique mode of expression that we through a unique mode of expression that we call cinematic language.call cinematic language.

• Making a movie usually involves a highly Making a movie usually involves a highly collaborative effort of many artists and collaborative effort of many artists and technicians.technicians.

Screening Checklist: What is a Movie?Screening Checklist: What is a Movie?

• Before and after you see a movie, think about Before and after you see a movie, think about the direct meanings, as well as the implications the direct meanings, as well as the implications of its title.of its title.

• Consider genre and whether the film fulfills Consider genre and whether the film fulfills expectations of that genre.expectations of that genre.

Screening Checklist II: What is a Movie?Screening Checklist II: What is a Movie?

• Do any narrative or visual patterns recur a Do any narrative or visual patterns recur a sufficient number of times to suggest a sufficient number of times to suggest a structural element in themselves?structural element in themselves?

• Do you notice anything particular about the Do you notice anything particular about the movie’s presentation of cinematic space-lots movie’s presentation of cinematic space-lots of landscapes or close-ups? Moving camera?of landscapes or close-ups? Moving camera?

• Does the director handle cinematic time in a Does the director handle cinematic time in a way that calls attention to it?way that calls attention to it?

Screening Checklist III: What is a Movie?Screening Checklist III: What is a Movie?

• Does the director’s use of Does the director’s use of lightinglighting help crate help crate meaning? If so how?meaning? If so how?

• Do you identify with the camera lens? What Do you identify with the camera lens? What does the director compel you to see?does the director compel you to see?

• What is left to the imagination?What is left to the imagination?• How does the director’s use of the camera help How does the director’s use of the camera help

to create the movie’s meaning?to create the movie’s meaning?