Movie LessonsMovie Lessons

Lists Used for RankingsLists Used for Rankings

American Film Institute: AFIAmerican Film Institute: AFI Determined by 1,500 leaders of the industryDetermined by 1,500 leaders of the industry

TimeTime Magazine All-Time 100 Movies Magazine All-Time 100 Movies Two film critics’ opinions, not ranked thoughTwo film critics’ opinions, not ranked though

Entertainment Weekly’s 100 Greatest Movies of Entertainment Weekly’s 100 Greatest Movies of All Time All Time Written by Ty Burr in 1999Written by Ty Burr in 1999

They Shoot Pictures, Don’t TheyThey Shoot Pictures, Don’t They: : TSPDTTSPDT Based on 1,320 critics’ and filmmakers top-10 listsBased on 1,320 critics’ and filmmakers top-10 lists Also factors in over 300 magazine polls, film institute Also factors in over 300 magazine polls, film institute

polls, and many others of interestpolls, and many others of interest Internet Database or IMDb.com:Internet Database or IMDb.com:

Based entirely on popularity with the fansBased entirely on popularity with the fans Fans rate films online and it gets averagedFans rate films online and it gets averaged

I. Analyzing FilmI. Analyzing Film To analyze, we must be totally immersed in the To analyze, we must be totally immersed in the

experience of the film, but also keep a high level of experience of the film, but also keep a high level of objectivity and critical detachment.objectivity and critical detachment.

A. Film is a collaborative effort.A. Film is a collaborative effort. B. We must let go of our prejudices and B. We must let go of our prejudices and

misconceptions.misconceptions. Don’t dismiss certain genres.Don’t dismiss certain genres. Be willing to venture outside the norm.Be willing to venture outside the norm. Be flexible on what a movie is supposed to be.Be flexible on what a movie is supposed to be. Don’t be too rigid when setting up criteria for a good film.Don’t be too rigid when setting up criteria for a good film. Don’t over-respond to individual elements or certain ones Don’t over-respond to individual elements or certain ones

pertaining to the film.pertaining to the film. Ex. I love all Harrison Ford movies. Sex and ViolenceEx. I love all Harrison Ford movies. Sex and Violence

Don’t expect too much from a film.Don’t expect too much from a film. Ebert, “It’s not Ebert, “It’s not whatwhat the move is about that makes it the move is about that makes it

good or bad, but good or bad, but howhow it is about it.” it is about it.” C. What is the proper environment to view films?C. What is the proper environment to view films?

Consider keeping a movie journal.Consider keeping a movie journal.

II. ThemeII. Theme What is the unifying central idea of the film?What is the unifying central idea of the film? A. Focus on PlotA. Focus on Plot

Action and adventure films focus on what happens (Action and adventure films focus on what happens (GladiatorGladiator, , Spider ManSpider Man, and , and Star Wars)Star Wars)

B. Focus on Emotional Effect or MoodB. Focus on Emotional Effect or Mood Create feelings for the viewer.Create feelings for the viewer. Horror, Drama, Comedy, and Romance (Horror, Drama, Comedy, and Romance (The ShiningThe Shining, ,

Shawshank RedemptionShawshank Redemption, , BoratBorat, and , and The NotebookThe Notebook)) C. Focus on CharacterC. Focus on Character

Developing the main figures of the film. (Developing the main figures of the film. (RayRay, , Raging BullRaging Bull, and , and Walk the LineWalk the Line))

D. Focus on Style, Texture, or StructureD. Focus on Style, Texture, or Structure Films that go for a unique look, feel, rhythm, atmosphere, tone, Films that go for a unique look, feel, rhythm, atmosphere, tone,

or organization. (or organization. (Pulp Fiction, Raising Arizona, FargoPulp Fiction, Raising Arizona, Fargo, , Natural Natural Born KillersBorn Killers))

II. Theme cont.II. Theme cont. E. Focus on IdeasE. Focus on Ideas

Films that clarify some aspect of life, experience, or the human Films that clarify some aspect of life, experience, or the human condition. condition.

1. Moral Implications (1. Moral Implications (CrashCrash)) 2. The Truth of Human Nature (2. The Truth of Human Nature (Groundhog Day, ShaneGroundhog Day, Shane, ,

DeliveranceDeliverance)) 3. Social Problems (3. Social Problems (Do the Right ThingDo the Right Thing)) 4. The Struggle of Human Dignity ( 4. The Struggle of Human Dignity ( On the Waterfront, Schindler’s On the Waterfront, Schindler’s

List, RockyList, Rocky)) 5. The Complexity of Human Relationships (5. The Complexity of Human Relationships (When Harry Met SallyWhen Harry Met Sally, ,

Brokeback MountainBrokeback Mountain)) 6. Coming of Age/Loss of Innocence/Growing Awareness (6. Coming of Age/Loss of Innocence/Growing Awareness (Almost Almost

Famous, Finding Nemo, Sixteen CandlesFamous, Finding Nemo, Sixteen Candles)) 7. A Moral or Philosophical Riddle (7. A Moral or Philosophical Riddle (Fight ClubFight Club and and Being John Being John

MalkovichMalkovich)) Some Films have more than one themeSome Films have more than one theme Some contain less important points of emphasis: Some contain less important points of emphasis: motifsmotifs.. Is the Theme universal?Is the Theme universal?

Citizen KaneCitizen Kane, 1941, 1941 Written, produced, and directed Written, produced, and directed

by Orson Welles (age 26)by Orson Welles (age 26) Also starring Welles Also starring Welles

His 1His 1stst feature film feature film War of the Worlds radio broadcastWar of the Worlds radio broadcast

Portrayed Charles Foster Kane Portrayed Charles Foster Kane with flashbacks and narrationwith flashbacks and narration Loosely based on William Loosely based on William

Randolph HearstRandolph Hearst The movie is shown in The movie is shown in

fragmented scenes of Kane’s lifefragmented scenes of Kane’s life Like a puzzle, trying to figure out Like a puzzle, trying to figure out

KaneKane What or Who was “rosebud?”What or Who was “rosebud?”

Innovations in the filmInnovations in the film Most of the film was made in deep Most of the film was made in deep

focus.focus. Everything in the scenes is in focusEverything in the scenes is in focus

Use of low-angle shotsUse of low-angle shots

Citizen KaneCitizen Kane, 1941, 1941 The film was not a box office The film was not a box office

hit.hit. Hearst tried to stop its release.Hearst tried to stop its release. Some claim he had Welles Some claim he had Welles

blacklisted from Hollywoodblacklisted from Hollywood Nominated for 9 Oscars, it only Nominated for 9 Oscars, it only

won one for Best Screenplay.won one for Best Screenplay. #1 film on AFI’s 100 Greatest #1 film on AFI’s 100 Greatest

Movies list in 1997 and 2007.Movies list in 1997 and 2007. ““Rosebud” was the #17 on AFI’s Rosebud” was the #17 on AFI’s

100 Movies…100 Quotes list.100 Movies…100 Quotes list. Orson Welles was named the Orson Welles was named the

#16 Greatest Film Legend by #16 Greatest Film Legend by AFI.AFI.

TSPDTTSPDT List: #1 List: #1 EWEW List: #2 List: #2 Time Magazine Top 100 FilmTime Magazine Top 100 Film IMDb.com List: #24IMDb.com List: #24

Citizen KaneCitizen Kane Response Response QuestionsQuestions

1. What is the theme or themes of the 1. What is the theme or themes of the film?film?

2. Did you enjoy the film? Why or why not?2. Did you enjoy the film? Why or why not? 3. Do you think this is a great movie? Why 3. Do you think this is a great movie? Why

or why not?or why not? 4. Should this be rated #1 all time? Why or 4. Should this be rated #1 all time? Why or

why not? why not?

Welles in later life

III. Fictional and Dramatic III. Fictional and Dramatic ElementsElements

A. The Elements of a Good StoryA. The Elements of a Good Story It has a unified plotIt has a unified plot The story is credibleThe story is credible

Externally Observable Truths: It shows the way things Externally Observable Truths: It shows the way things really are.really are.

Internal Truths of Human Nature: It shows the way things Internal Truths of Human Nature: It shows the way things are supposed to be.are supposed to be.

Artistic Semblance of Truth: The way things never were Artistic Semblance of Truth: The way things never were and never will be.and never will be.

B. A Good Story is InterestingB. A Good Story is Interesting Suspense and ActionSuspense and Action

C. A Good Story is Both Simple and ComplexC. A Good Story is Both Simple and Complex D. A Good Story Handles Emotional Material D. A Good Story Handles Emotional Material

with Restraintwith Restraint

III. Fictional and Dramatic III. Fictional and Dramatic Elements cont.Elements cont.

E. The Significance of the TitleE. The Significance of the Title F. Dramatic StructureF. Dramatic Structure

Linear, or Chronological StructureLinear, or Chronological Structure Exposition, complication, climax, and resolvement Exposition, complication, climax, and resolvement

(denouement)(denouement) Nonlinear StructureNonlinear Structure

In medias res, flashbacks, and flash forwardsIn medias res, flashbacks, and flash forwards Endings: Fine-Tuning the DenouementEndings: Fine-Tuning the Denouement

G. ConflictG. Conflict External or internalExternal or internal

H. CharacterizationH. Characterization Static or Dynamic CharactersStatic or Dynamic Characters

I. AllegoryI. Allegory J. SymbolismJ. Symbolism K. IronyK. Irony

IV. Analyzing Visual DesignIV. Analyzing Visual Design

A. On Color Versus Black and WhiteA. On Color Versus Black and White How does it affect the mood? Is it the correct How does it affect the mood? Is it the correct

choice for the story? choice for the story? The Wizard of OzThe Wizard of Oz vs. vs. Schindler’s ListSchindler’s List

Are there any special color effects used to Are there any special color effects used to achieve a unique look? achieve a unique look? Minority ReportMinority Report

Smooth or rough-grain film stockSmooth or rough-grain film stock

B. On Screen Format (Aspect Ratio)B. On Screen Format (Aspect Ratio) Was the film originally shot for standard screens Was the film originally shot for standard screens

or widescreen?or widescreen? Standard, widescreen, Cinemascope, and PanavisionStandard, widescreen, Cinemascope, and Panavision

Would the film be the same in the other aspect Would the film be the same in the other aspect ratio?ratio?

IV. Analyzing Visual Design IV. Analyzing Visual Design cont.cont.

C. On Production Design/Art DirectionC. On Production Design/Art Direction How important is the set or location?How important is the set or location? Was the film made mainly on a set or on location?Was the film made mainly on a set or on location? Do the settings enhance or underscore the film?Do the settings enhance or underscore the film? Is the setting too powerful? (Is the setting too powerful? (The Last SamuraiThe Last Samurai)) Is the setting convincing enough for a period piece, a fantasy, or a Is the setting convincing enough for a period piece, a fantasy, or a

science fiction?science fiction? Could this story take place somewhere else?Could this story take place somewhere else? Why did the filmmaker choose one particular location?Why did the filmmaker choose one particular location? Is the setting symbolic?Is the setting symbolic?

D. On Costume and Makeup DesignD. On Costume and Makeup Design Do these help actors get into character?Do these help actors get into character? Does makeup enhance the natural appearance or significantly Does makeup enhance the natural appearance or significantly

transform it?transform it? E. On LightingE. On Lighting

Is the lighting (1) direct, harsh, and hard; (2) medium and balanced; Is the lighting (1) direct, harsh, and hard; (2) medium and balanced; (3) soft and diffused?(3) soft and diffused?

Does the lighting seem natural or artificial?Does the lighting seem natural or artificial? Does the lighting contribute to the overall emotional attitude or tone of Does the lighting contribute to the overall emotional attitude or tone of

a film?a film?

V. Cinematography and Special V. Cinematography and Special Visual EffectsVisual Effects

A. The Importance of the Visual ImageA. The Importance of the Visual Image Visual elements are the primary and most powerful means of Visual elements are the primary and most powerful means of

communicationcommunication B. The Cinematic FilmB. The Cinematic Film

1. Is the film cinematic?1. Is the film cinematic? Keep the image alive and in motionKeep the image alive and in motion Sets up clear, crisp, and aural rhythmsSets up clear, crisp, and aural rhythms Gives an illusion of depthGives an illusion of depth Uses other special properties of the mediumUses other special properties of the medium

2. Does the cinematography create clear, power, and effective 2. Does the cinematography create clear, power, and effective images?images?

C. Cinematic Points of ViewC. Cinematic Points of View 1. Objective: camera as a sideline observer1. Objective: camera as a sideline observer 2. Subjective: camera as a participant in the action (direct 2. Subjective: camera as a participant in the action (direct

involvement of the audience)involvement of the audience) 3. Indirect-subjective: not a participant’s point of view, but it’s 3. Indirect-subjective: not a participant’s point of view, but it’s

really close to the actionreally close to the action 4. Director’s interpretive: viewers are consciously aware of the 4. Director’s interpretive: viewers are consciously aware of the

director’s desire to show action in an unusual waydirector’s desire to show action in an unusual way

V. Cinematography and Special V. Cinematography and Special Visual Effects cont.Visual Effects cont.

D. Elements of Cinematic CompositionD. Elements of Cinematic Composition1. Draw attention to central objects1. Draw attention to central objects

Size, closeness, sharpness, movement, and Size, closeness, sharpness, movement, and camera anglescamera angles

Close-ups, arrangements, framing, lighting, Close-ups, arrangements, framing, lighting, and colorand color

2. Keep images in motion2. Keep images in motionFixed-frame movement, panning and tilting, Fixed-frame movement, panning and tilting,

zoom lens, rack focus, deep focus, three-zoom lens, rack focus, deep focus, three-dimensional arrangement of people/objects, dimensional arrangement of people/objects, foreground framing, special lighting, and the foreground framing, special lighting, and the use of reflectionsuse of reflections

V. Cinematography and Special V. Cinematography and Special Visual Effects cont.Visual Effects cont.

E. Specialized Cinematic TechniquesE. Specialized Cinematic Techniques 1. Handheld Camera1. Handheld Camera 2. Camera Angles2. Camera Angles 3. Color, Diffusion, and Soft focus3. Color, Diffusion, and Soft focus 4. Special Lenses4. Special Lenses 5. Fast and Slow Motion5. Fast and Slow Motion 6. Special Lighting Effects6. Special Lighting Effects

F. Movie Magic: Special Visual Effects in the F. Movie Magic: Special Visual Effects in the Modern FilmModern Film 1. Matte and glass shots from old movies1. Matte and glass shots from old movies 2. Blue-screen process2. Blue-screen process 3. Computer-generated imaging (CGI)3. Computer-generated imaging (CGI) 4. Stop-motion animation4. Stop-motion animation

G. The F/X of Animated Feature FilmsG. The F/X of Animated Feature Films 1. From hand drawn frames to computer animation1. From hand drawn frames to computer animation

VI. EditingVI. Editing ““The film is not shot, but built…” (Boggs and Petrie, The film is not shot, but built…” (Boggs and Petrie,

2008).2008). Editing guides our thoughts, associations, and Editing guides our thoughts, associations, and

emotional responses from one image to another.emotional responses from one image to another. Editing should be smooth, natural, and unobtrusive. Editing should be smooth, natural, and unobtrusive.

Sometimes it is tricky or self-conscious.Sometimes it is tricky or self-conscious. Transitions: Wipe, Flip Frame, Fade-Out/ Fade-In, or DissolveTransitions: Wipe, Flip Frame, Fade-Out/ Fade-In, or Dissolve

Most film editors no longer use these.Most film editors no longer use these. Form Cut: the shape of an object is matched to a similarly shaped Form Cut: the shape of an object is matched to a similarly shaped

object in the next scene.object in the next scene. Time Control: jump cut, parallel cuts (show two scenes of action Time Control: jump cut, parallel cuts (show two scenes of action

back and forth), slow motion, back and forth), slow motion, Freeze frame (Freeze frame (Butch CassidyButch Cassidy), Thawed Frame, and Stills ), Thawed Frame, and Stills

(pictures shot with camera movement).(pictures shot with camera movement). Editing cutting and transitions set the pace of the film.Editing cutting and transitions set the pace of the film.

Creative Juxtaposition: MontageCreative Juxtaposition: Montage Ironic Montages (The Godfather)Ironic Montages (The Godfather) Mise-en-sceneMise-en-scene: emphasizes the content from a single frame, : emphasizes the content from a single frame,

opposite of a montageopposite of a montage