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Description
Flashcards by Hansa Luximan, updated more than 1 year ago
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Created by Hansa Luximan
almost 11 years ago
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| Question | Answer |
| Early attempts to Filmmaking | US : Edison France : Lumiere and Melies Edison : single staged events, co worker sneezing, couple sneezing. HOLLYWOOD STUDIO SYSTEM (division of labor, narrative style, character and action) Lumiere : events going on around the world, workers leave factory, train arriving at station DOCUMENTARY (record events, even if camera not present) Melies : studio, creating trick shots, illusion of color. FANTASY (science fiction) |
| Economics of scale | Economic impulse, commodity, own it, rent it, sell it, profit from it. Largest number of people, most common and acceptable beliefs : film is between expectation and response, cultural belief and individual resistance |
| Buster Keaton | Signs deal with MGM, Director has a small role, loses creative edge and control |
| Charlie Chaplin + Joseph Scheck | form United Artists, major studio but acts as financing and distribution, rather than production. Silent period biggest stars and partners : Douglas Fairbanks, Mary Pickford, DW Griffith |
| Studio Streamlining Work | Filmmaking factories : employees are writers, directors, actors, set decorators, electricians -> economy of the visible organized. Manufacturing gets more streamlined as demand grows. Roles are laid out, staged process. |
| Continuity | Continuity of actual space and time is fragmented as smoothly as possible. Jump Cut : transition is confusing. Establishing shot : location and time Closer shots : action Establishing shot : return to it if there are many shots. |
| Master shot technique | Golden years of American studio system (30s 40s), directors urged to use technique : Reverse angle shot : exchanges, 180 degree rule. |
| Thematic montage | Griffith experiments, Intolerance (1916), association of ideas, irrespective of space and time. Themes of bigotry and persecution (four stories, Ancient Babylon, crucifixion of Jesus, massacre of Huguenots, America 1916) |
| Constructive Editing | Vi Pudovkin claims Griffith's use of close ups is too limited, only clarification of long shot. Pudovkin says each shot should make a new point, new meaning, juxtaposition of shots, not one shot alone. Lev Kuleshov, place three shots next to a man's face : all different meaning. Detracts from sense of realism, critiqued to be manipulative. |
| Montage | Eisenstein : montage is foundation of film art. Conflict of two shots (thesis and antithesis) creates new idea (synthesis) |
| French New Wave | André Bazin : editing is destruction of form. Shot should be unedited gaze. |
| Italian Neo Realism | Films in the street, observing people post WWII |
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