First Performances on Film Novelty films of Edison (1895-1905) The Great Train Robbery (1903) 1st narrative film Clip: The Kiss Early InfluencesTheater legitimate art form Dominant Acting styles: Classical, Melodrama, Vaudevillebroad, histrionic gesture, not suited for the intimacy of the camera Early Moving Pictures- (1900-1915)base entertainment for the masses As a result 2nd class actors employed in Moving PicturesPerformances appear ‘affected’ Early MilestonesSociete Film d’Arte-France (1908)full length playsFamous Players In Famous Plays (1912)Feature length, ‘canned’ theaterBiograph Studios (1908-14)Griffith, Gish‘Naturalism’Chaplin (1914-25)Slapstick Screen Persona Broken BlossomsBroken Blossoms (1919) ‘Natural’ performance, subtleness of gesture, character developmentGriffith first director to minimize actionsplay to the cameraDirects Gish to observe everyday people, types, movements, behavior, and to emulate through deliberate practice Clip: Broken Blossom Hollywood and The StarThe Matinee Idol (20’s)Mary Pickford ‘America’s Sweetheart‘Hollywood ‘gossip’ columnLuella Parsons-Hedda HopperScandals of the Roaring TwentiesGolden Era of Hollywood (30’s, 40’s) The Star is cultivated Image, Screen PersonaMGM –’more stars than there are in heaven’Seven Year Contract Clip- Mae West, Gold Diggers, Monroe The MethodStanislavski - the Moscow Art Theater 1895A system of acting based on naturalism in performance, both physical and psychologicalThe ‘inner life of the character’ Actor as artist- perfection of craft An ‘instrument’ of the theater‘Work on Oneself ‘‘Science’ or method of acting Theory/Terminology‘the magic if’, improvisation, emotional memory, objectives, subtext, ‘method of physical actions’ The Method in the US1923 Boleslawski founds The American Laboratory Acting The First Six Lessons1930 Group Theater - Lee Strasberg, Harold Clurman, Stella Adler, Elia Kazan, Clifford Odets.Political/Social platformCommunist Party1934 Adler Visits Stanislavski, receives direct instruction, causing controversy and the eventual split of the Group Theater The Actors StudioElia Kazan Founds the Actors Studio (1947) devoted to training Film Actors in the MethodLater run by Lee StrasbergBrando, James Dean, Marilyn MonroeInside the Actors Studio Pervasiveness of ‘method’ based acting Links: https://sites.google.com/site/arttheatrestudio/ www.theactorsstudio.org/studio-history/ http://www.methodactingstrasberg.com/history http://www.npr.org/series/4510430/the-evolution-of-acting Brando and KazanKazan actor’s director. Accomplished in both stage and screen Tennessee Williams, Arthur Miller. Brando, James DeanBrando’s Relationship with Kazan. Street Car Named Desire, On The WaterfrontBrando personifies the ‘complex’ character. Inner vulnerability/Tough exteriorRebuked for never repeating lines same way, mumbled or threw away linesExuded ‘charisma’/ inner life (subtext)Both Screen Persona and Character Development strongly represen ...

1. First Performances on Film
Novelty films of Edison (1895-1905) The Great Train Robbery
(1903) 1st narrative film
Clip: The Kiss
Early InfluencesTheater legitimate art form Dominant Acting
styles: Classical, Melodrama, Vaudevillebroad, histrionic
gesture, not suited for the intimacy of the camera Early Moving
Pictures- (1900-1915)base entertainment for the masses As a
result 2nd class actors employed in Moving
PicturesPerformances appear ‘affected’
Early MilestonesSociete Film d’Arte-France (1908)full length
playsFamous Players In Famous Plays (1912)Feature length,
‘canned’ theaterBiograph Studios (1908-14)Griffith,
Gish‘Naturalism’Chaplin (1914-25)Slapstick Screen Persona
Broken BlossomsBroken Blossoms (1919) ‘Natural’
performance, subtleness of gesture, character
developmentGriffith first director to minimize actionsplay to
the cameraDirects Gish to observe everyday people, types,
movements, behavior, and to emulate through deliberate

2. practice
Clip: Broken Blossom
Hollywood and The StarThe Matinee Idol (20’s)Mary Pickford
‘America’s Sweetheart‘Hollywood ‘gossip’ columnLuella
Parsons-Hedda HopperScandals of the Roaring TwentiesGolden
Era of Hollywood (30’s, 40’s) The Star is cultivated Image,
Screen PersonaMGM –’more stars than there are in
heaven’Seven Year Contract
Clip- Mae West, Gold Diggers, Monroe
The MethodStanislavski - the Moscow Art Theater 1895A
system of acting based on naturalism in performance, both
physical and psychologicalThe ‘inner life of the character’
Actor as artist- perfection of craft An ‘instrument’ of the
theater‘Work on Oneself ‘‘Science’ or method of acting
Theory/Terminology‘the magic if’, improvisation, emotional
memory, objectives, subtext, ‘method of physical actions’
The Method in the US1923 Boleslawski founds The American
Laboratory Acting The First Six Lessons1930 Group Theater -
Lee Strasberg, Harold Clurman, Stella Adler, Elia Kazan,
Clifford Odets.Political/Social platformCommunist Party1934
Adler Visits Stanislavski, receives direct instruction, causing
controversy and the eventual split of the Group Theater
The Actors StudioElia Kazan Founds the Actors Studio (1947)
devoted to training Film Actors in the MethodLater run by Lee

3. StrasbergBrando, James Dean, Marilyn MonroeInside the Actors
Studio Pervasiveness of ‘method’ based acting
Links:
https://sites.google.com/site/arttheatrestudio/
www.theactorsstudio.org/studio-history/
http://www.methodactingstrasberg.com/history
http://www.npr.org/series/4510430/the-evolution-of-acting
Brando and KazanKazan actor’s director. Accomplished in both
stage and screen Tennessee Williams, Arthur Miller. Brando,
James DeanBrando’s Relationship with Kazan. Street Car
Named Desire, On The WaterfrontBrando personifies the
‘complex’ character. Inner vulnerability/Tough exteriorRebuked
for never repeating lines same way, mumbled or threw away
linesExuded ‘charisma’/ inner life (subtext)Both Screen Persona
and Character Development strongly represented in his workThe
HUAC. The Black ListClips: Street Car, Last Tango
Performance
Performance, more than any other aspect of filmmaking is the
most common way we evaluate a film. Performance, more than
any other aspect of filmmaking is the most difficult to evaluate.
Performance- DefinitionLawrence Olivier once stated:
‘Acting is the art of persuasion’ An Actor is an artist
who assumes (in the context of stage or screen) the identity of
another person; one who presents themselves on screen, as if

4. they were a person other than who they are in real life.One way
we can evaluate a performance is to ask how thoroughly are we
persuaded?
BelievabilityCredibility is the ‘cornerstone’ of a successful
performanceTwo fundamental tenants of a ‘good’ performance
The ability of an artist to transform characteristics in order
impersonate a fictitious characterCreating a role
The actors natural disposition as it relates to a fictitious
characterScreen Persona
IdentificationA property that is essential in a performance is to
create a connection with the audience. The audience must
IDENTIFY with the character
Suspension of DisbeliefThe actor must convince an audience
that he or she is a real person (in a real situation) despite the
fact that the audience knows that the person on the screen is
fictitiousTo willingly believe an illusionDisbelief is our
disposition We suspend that disbelief in order to believe
Verisimilitude- Having the appearance of truth
Character and ActorIn order to create believability, it must be
possible for an actor to manifest qualities that the character
possesses.Appropriateness (Barsam)These include attributes
such as:AgePhysical typeBehavior/MannerismsIntellectual
abilityPsychological disposition

5. MotivationAn actor must make believable, the reasons for a
character’s actions Actions motivated from a genuine need.
ObjectivesReasons may be withheld from an audience, but we
must be convinced that a character is driven by this
needMotivations come from the ‘Inner Life’ of a character
reacting to the narrative context (script)Actions without
motivation lack credibility, and may appear ‘incomprehensible’
or artificial.
ConsistencyPudovkin states that: “The aim and object of
technique of the actor is the struggle for unity, for an organic
wholeness in the lifelike image he creates” In order to create
believability, an actor must have consistency in a role. this
includes, actions, reactions, transitions, mannerisms and
emotional rangeExpressive Coherence (Barsam)A character
trait, inconsistent, un-premised, artificially, or inadequately
expressed, would be considered ‘out of character’ and destroy
credibility.
ComplexityAnother trait which increases our identification with
a character is complexity. There must be ‘depth’ or ‘dimension’
to a characterVarietySpontaneityUnpredictabilityOne of the
ways complexity is introduced is when we see the dynamic
between personality, or outer character traits, struggling with
‘inner’ emotions or thoughts of a character.
Unity AND DiversityA well rounded character has both Unity

6. AND DiversityComplexity AND Consistency
Attention/ConcentrationOne of the qualities developed in the
training of an actor is the ability to concentrate and focus
attention.An actor must have the ability to assume qualities of a
fictitious character for extended periods of time getting into
characterAn actor must have the ability to transcend the
artificial context of the craft (technical demands) Maintain
consistency in a scene, often building emotional content, with
the interruptions inherent in the process production
ContinuityWholeness in performance (Barsam)
SubtextOne of the ways an actor creates a consistent, believable
role is through SubtextSubtext: the thoughts, inner emotions, or
moods, not expressed in dialog, that ‘color’ a
performance.Sometimes referred to as the inner life of a
characterOne of the challenges of an actor is to express a
character’s thoughts or emotions without appearing
artificial.Affectation - Exaggerated mannerism-
gesturesTelegraph – overtly revealing - expositionSubtext is
often represented in The Reaction Shot
Emotion and IdentificationOne fundamental way in which we
‘identify’ with a character is with their ability to express
emotion.We often Identify with a character because they can
feel, and in turn cause us to feel.
Persona and CharacterThere are two basic ‘approaches’ to the

7. role of an actorDeveloping a Character Screen PersonaIn most
performances both are presentScreen Persona, in varying
degrees works in ‘tandem’ with Creating a Character
Creating a CharacterManifests qualities of the character
(fictitious), that may be radically different from the ‘natural’
disposition of the actor. The ability to modify, transform, or
‘stretch’, the physical, emotion, intellectual disposition of the
actor to fit the characterTo make believable the unique traits of
a fictional characterCraft in the ‘art’ of acting Characteristics
are unique to the fictitious character and are not shared from
role to role.
Screen PersonaPersona is an actor’s personality, presence, or
‘charisma’ on screen innate physical, emotional, intellectual,
appeal of actorThe starIt is the ability to utilize the natural
disposition of an actor and apply it to a roleScreen Persona,
arguably, more than any other factor, creates audience
identificationWe relate to a character because we like the
actorWe are attracted to a character for many of the same
reasons we are attracted to people in ‘real’ lifeScreen persona,
is carried from role to role Audience Expectations -
Relationship (screen history)
Development of Screen PersonaAlthough Screen Persona can be
considered ‘innate’ it still requires skill to develop (‘work on
oneself’)Screen persona is often intentionally cultivated, as a
career ‘investment’ carefully ‘groomed’ image through
publicity.Studio systemScreen persona can be damaged, or
improved with ‘inside’ knowledge of an actors personal life

8. (Christian Bale, Lindsey Lohan, Charlie Sheen, Mel Gibson)
Types of RolesCasting often determines the success or failure of
a projectStar powerThe type of role that an actor is cast can
determine the effectiveness of performanceIt is said that casting
is 90% of performanceThe script can radically impact the
effectiveness of performance.Working with other actors can also
radically impact a performance
Types of PerformanceCharacter Driven films- the events of a
single character is prominent – Character developmentBuddy
films- Two actors compliment one another.Thelma and Lois,
Midnight Cowboy, Hangover.Epic films,- Character(s) in
context. Explores the impact of environment the individual.
Often explores ‘human drama’ set against the backdrop of a
historical event. Ensemble films- Several characters of
‘importance’ playing off one another
The Ensemble PerformanceA chemistry created when a group of
actors work together. Creates a collective energy, in which each
performance impacts the others Performances are
complimentaryStrength of a performance can reach a level that
a single character could not.Screen ‘magic’ when ensemble
performance ‘gels’Performances are memorable, often launch
careers or ‘generations’ of actors Rat Pack, Brat Pack etc

9. CompositionComposition is the arrangement of the visual space
within the frameFormal arrangement of visual spaceElements of
Composition:Height, Width (aspect ratio) Depth of frameRule
of thirdsVanishing PointLeading Lines (vertical, horizontal.
diagonal lines)ColorLight
Composition (cont)Composition has a long, highly evolved
history in the arts--painting, theater, sculpture, dance, music
photography There are two main
considerationsFunctionalAesthetic
Functional CompositionFunctional composition serves the story,
performance or dramaturgy (narrative logic) Objects or
Characters are framed so that they can easily be observed, and
quickly understoodAction is framed or followed to convey
WHAT is happeningemphasis is on content.Head room, eyeline,
lead room, point of focus are terms used in functional
composition
Aesthetic CompositionThe primary purpose of an aesthetic
composition is to please the eyeCertain formal arrangements we
call beautiful, others, not so beautifulIn an aesthetically
pleasing composition:Objects are arranged to create visual
balance, uniformity, cohesiveness or harmony.
BalanceShapes (including objects, color, and light) take up
‘space’ in the frame referred to as ‘weight’ in the frameOften
the biggest, or brightest, or most saturated have the most

10. ‘weight’ A frame has balance when its ‘visual weight’ creates a
cohesive whole, harmony or other ‘pleasing’
result.attractionOften a predominant ‘weight’ is is offset by
complementary one or some other use of space, such as negative
space
Balance (cont)Leading Lines, both horizontal and vertical,
create ‘boundaries’, defining space, directing the eyeLeading
LinesColor, tonal variation and shades of light have similar
properties, giving ‘weight’ to the frameImbalance, may also be
an ‘aesthetic,’ intentionally designed to create ‘disequilibria’
Depth of the FrameDepth of Field - Range of acceptable
sharpness from its closest point to its farthest point. Depth of
focus within the frameShallow focus- Limited range Blurs
foreground or rearground, strongly emphasizes point of focus,
often creates abstract compositionDeep space- Visual depth, but
not all planes are equally in focus. Tends to isolate characters
against the background.Deep focus- All planes, equally in focus
Deep FocusExtreme range of acceptable sharpness extending
from the foreground to ‘infinity’Equal sharpness from
foreground to reargroundMade possible by technical advances
in lens design, lighting and film sensitivityWelles and Greg
Tolland (DP) in Citizen KaneGraphic relationship between
objects in foreground and the objects in the reargroundNarrative

11. meaning
View Kane
Rule of thirdsThe rule of thirds breaks the frame into a grid,
intersecting at thirds
Rule of thirds
Object arranged at the intersection of thirds, naturally attracts
the eye and creates visual cohesiveness
LightingLighting provides practical information such as time of
day.FunctionalSettingIt can radically impact, mood, and

12. emotional content of a scene.Often used as a compositional
element, directing attention, punctuating space, or as a purely
aesthetic element.
Contrast RatioOne of the ways Lighting establishes mood is
through contrastContrast ratio refers to the differences between
highlights and shadowsA high contrast ratio will have deep
shadows and bright highlights with little tonal variation – Film
Noir, horror, crime. A lower contrast ratio will have more tonal
range in the mid spectrum – Romantic Comedies, beauty
lighting
Clips: Tess, Clockwork
Closed Framing-Open FramingClosed Framings arrest the eye,
our attention is drawn in. In Closed framings we study the
composition Information is ‘contained’ within the frame, often
by formal compositional elements. Close framings have a strong
aesthetic appeal.Open Framings require the succeeding frame to
complete its ‘meaning’. It ‘asks’ for the next shot. Dialog
scenes are often Open Framings
German Expressionism/Weimar Film1919-1930Seminal Film
Cabinet of Dr Caligari (1919)Style influenced by social,
political and economic upheaval following WW1
Expressionism and Visual StyleBold ‘expressionistic’ use of
sets, lighting and camera style, (to depict a society in
turmoil)Camera, lighting and set design heavily contributed to

13. the development of the cinemaDirectors and Cameramen
influenced many aspects of genre and the Hollywood style:
Gangster, Film Noir, Horror
FW Murnau- Camera UnchainedConsidered by many to be the
greatest German directorOne technique pioneered by Murnau
called the ‘unchained camera’ revealed a freedom and fluidity,
evolving the camera into a unique storytelling device that
assumed a POV of its own Following his two highly successful
films Nosferatu and The Last Laugh, Murnau is offered a
contract at Fox to produce Sunrise (1927)Sunrise, released the
year sound was invented, is one of the most arresting, visually
stimulating films ever made.He died in an automobile accident
near Malibu, in his early thirties.
Clip: The Last Laugh
Camera AngleCamera Angle refers to the height of the camera,
relative to the subject being photographedHigh- Camera is
position above character, ‘looking down on someone’
Diminishes importance of character.Eyelevel- Camera is
positioned level to character. Conveys normalcy Low- Camera
is positioned below character, Conveys authority, superiority,
‘looking up to someone’. Malevolence or threat is sometimes
conveyed.Dutch Angle- Horizon is ‘titled’. Conveys ‘world out
of balance’ irrational, bizarre, or twisted quality (rarely
used)Context
View Tutorial: Camera Angle

14. Camera MovementTilt and PanDolly or Tracking
shotCraneHand heldSteady Cam
Pan and TiltPan - horizontal movement (panoramic) from a
fixed position (tripod)Tilt- up or down movement from a fixed
position The Pan often ‘follows the action’ giving ‘lead room’
in the direction of travel. End of shot often reveals something
about setting, or important narrative detail. Both Pan and Tilt
can move independent of action Tilt often moves independent of
action to accentuate the ‘Reveal’ POV of the director
View The Pianist
Dolly or Tracking ShotThe Dolly Shot - a moving platform
(dolly), often on tracksSmooth, ‘ambulatory’- invites audience
to ‘participate’ Greater mobility than Pan or TiltEmphasis is
Functional– to follow action Identification with character
(POV)Rarely moves INDEPENDENT of a
character/subject‘Aesthetic’ (style)Used as a Stylistic device –
create interest. Precisely choreographed often revealing specific
interactions or narrative detail. Beginning and End of
shotmarksOften employs re-framing the subject
View: Spirit of the Beehive
Crane ShotThe Crane Shot - moving platform -forward or
backwards as well as extreme elevation in height.Lends itself to
a ‘freedom’ to explore setting and character interaction
‘Omniscient’ quality Often used for aesthetic/stylistic purpose
Capable of revealing setting from extreme heightOften reframes
a shot, invigorating the viewer.Often used in conjunction with a

15. long take
View Touch of Evil
HandheldAnimates character movement to
simulate:Spontaneous actionPOV of character (1st
person)Rough or unplanned ‘feel’Stylistic interpretationLends
itself to documentary or ‘realistic’ interpretation Cinema Verite
View French Connection
Steady CamCamera is mounted on a gyroscopic platform that
‘steadies’ camera movementHas the feel of complete mobility
and freedomEnables the execution complicated shots, in and out
of buildings, up stairs etc--in a smooth and ‘poised’
mannerAmbulatory (not restricted by track)Long
TakeSpontaneous, combines attributes of Hand Held with the
Dolly Shot
View Goodfellas
Duration of the ShotThe Long Take refers to the length of a
shot. Shot is determined by its start and stopLong Take=long
durationInvites an examination of the framePromotes
compositional elementsLength of the shot has meaning in
relation to other shots Rhythm-TempoEditingIs often used in
complicated shot design, in conjunction with camera movement
and reframing Plans ShotCredibility is enhanced.Can emphasize
performance, by allowing actors to play a scene without editing

16. Mise en SceneMise en Scene (meez ahn sen) is a French term
coming from the theater. Translated it means ‘putting into the
scene’often referred to as ‘staging’The term was first applied to
cinema by Truffaut, in 1954
Definition of Mise en SceneMise en Scene refers to the visual
representation of elements within the frameIt is visually, how a
story is toldObjects within the frame, chosen to obtain a ‘look’
Art directionThe arrangement of those
objectsCompositioncinematography
Study of Mise en SceneA study of mise en scene is an analysis
of a films visual elements in relation to a film’s narrative
content.
How is the narrative visually represented on screen? How
does the camera interpret?
Including:What those objects are (content)Their formal
arrangement within the frame (form)Relation to the
frameRelation to other objects in the frame
Mise en Scene- Film GrammarMise en Scene uses a number of
basic terms that are elements of Film GrammarA study of Mise
en Scene requires the understanding and application of these
termsThe Long Shot, is a term that represents an element of
film grammar.

17. Mise en Scene - InterpretationConsider the line from a
script:We see an old barn with billowy clouds along the
horizon. Spring is near.ContentBarn, Clouds, Horizon, Spring
FormRustic Barn – Set Design Fluffy clouds on horizon -
Pictorial Composition Wide shot - FramingTracking Shot -
Moving Camera
Components of Mise En SceneThere are two basic components
of Mise en SceneSettingCinematography
SettingSetting determines:Time and PlaceMood The Production
Designer oversees this aspect of Mise en Scene Art
DirectorVariables include:Set Design/location Props
WardrobeMake-up
CinematographyElements of Cinematography:
CompositionLightingFraming (shot size)Camera AngleCamera
movement Duration of the shot
The Cinematographer oversees this aspect of Mise en Scene
The FrameThe Frame is a rectangular area in which the image is
photographed.
The relationship between the height and width of a frame is call

18. Aspect Ratio Aspect ratio is a compositional element Impacts
how a frame is interpretedDecisions are made, prior to shooting,
based on intended ‘look’ of the film
Types of Aspect RatioAcademy-1.33:1 (older films, analog
TV)16x9 Standard for HD (Video, DSLR)European Standard
1.85:1 (most common in commercial released
films)Cinemascope 2.35:1 (Epic, Wide screen)
FramingFraming refers to shot size and the arrangement of
elements within the frameSize of the subject within the
frameCompositionCamera angle
ProxemicsRepresents the apparent closeness (proximity) of the
camera. how close we are Determines subject size within the
frameStandard framings are LS (Long Shot) MS (Medium Shot)
CU (Close Up) Like all aspects of Mise en Scene, framing is
deliberately chosen to convey meaning.
The Long ShotThe Long Shot (sometimes referred to as an
Establishing Shot) Establishes time and place
(setting)Diminishes subject, placing them in context
(setting)The Long Shot establishes Screen GeographyOrients
the viewer by establishing a relationship between the objects
and the characters in the frame. Enables cutting into tighter
framings, without disorienting the viewer

19. The Medium ShotThe Medium Shot is approximately from the
waist up, it can be a two shot.It maintains a comfortable space
between characters. Often used to establish a sense of
‘normalcy’The ‘common’ distance in conversation and
interaction (proxemics)Most dialog scenes utilize the MS
The Close UpThe Close-Up is approximately head and
shoulders. It is used to conveyImportant narrative information
(detail)A significant momentA sense of intimacyHeightened
emotion
View Tutorial: Shot Types Proximity
Framings and Screen GrammarFramings are deliberately
selected with an editing ‘scheme’ in mindCombinations of
framings are edited together to convey meaningConvey
Narrative contentDramatic emphasis Continuity within a
sceneAll framings (shot types) maintain Screen Geography
Often shot types uses Proxemics by moving from wider to
tighter framings, to ‘pull us into’ the scene
View: Perrier’s Bounty
French New Wave1958-65Cinemateque Francaise, Henry
Langois, screened ‘opus’ of director’s workA director is to be
judged by a body of workCahiers du Cinema, Film Journal
founded by Andre BazinTruffaut, GodardCritics-
CahiersSeminal directors French New Wave

20. Auteur TheoryPolitique de Auteurs (Truffaut 1954)Revolt
against ‘cinema du papa’Director is the author of the film
Criteria of AuteurAndrew Sarris - Film Critic to first define the
criteria for the auteur:The first premise is a technical
competency of the director must know the craftThe second
premise is the distinguished personality of the director a
director must have something to say, life experience, knowledge
etcThe third premise is that the ultimate glory of cinema is an
art form.must have aesthetic content
TruffautTruffaut films are lyrical impulses, leisurely in their
narrative development, rarely interested in strident clashes“I
enjoy unexpected details, things that prove nothing, things that
show how vulnerable people are.”Strong autobiographical
influence The moving camera Hand-held, Dolly
GodardExplored language of the cinema, experimental,
challenging accepted forms, defying popular
approaches.Political commentary, Marxist cinemaHeavily
influenced by iconic Hollywood the gangster film. Documentary
film, television production“I don’t like to tell a story, I prefer
to use a kind of tapestry, a background on which I can
embroider my own ideas.”

21. Suspense vs SurpriseBoth Suspense and Surprise are narrative
devices “Surprise occupies fifteen seconds of screen time,
Suspense fifteen minutes” - HitchcockSurprise engages our
interest through shock and disruptionSuspense engages our
interest through apprehension and anticipation
View clip: Car commercial
SuspenseSuspense builds dramatic tension by creating a
dynamic between what is revealed and what is not. Creates the
anticipation of a possible outcomeWhat will happen next?Cause
and EffectCall and ResponseSuspense relies on a limited
disclosure of informationThe audience knows something the
characters do notThe characters know something the audience
does notBoth character and audience have limited
informationThe event must have consequencesFavorable vs
unfavorable The degree of dramatic tension is relative to the
degree of audience investment (Identification)
View clip: The Birds
POVPoint of View focuses our attention by limiting
perspective. Primarily this creates identification with a
character (We receive information as a character receives
it)Ability to control information often used as a dramatic device
to build dramatic tension (suspense)Our perspective is limited
to their perspective, their questions are our questions, their
limitations our limitations.If we care about the character AND
we are uncertain of the outcome= dramatic tensionApprehension
and Expectation

22. GenreGenre is a category or type of film. It is a way of
classifying a storyWar Film, Comedy, Thriller, Science Fiction
etcEach Genre has attributes that define it; a homogenous group
of characteristics that include: dramatic settings narrative
actionscharacter typesnarrative outcomes.Not all films are
‘genre’ films
Genre and Audience ExpectationsGenre is a consensus, a
collective agreement based on what is ‘universally popular’
Develops a ‘contract’ with audience, setting up
expectations.Origins unique historical context/cultural
attribute.other mediums, Pulp fiction, Comic booksGenre can be
considered a ‘mythology’ of our times. Often representing our
collective fantasies, our hopes and dreams, it is a refined
‘projection’ of the world as we wish to see it.
Genre- CharacteristicsMaintains a simple, familiar
storyline‘formula’ stories classic story structureCharacter Types
The StarArchetypeQualities and characteristics represent but do
not replicate, life. ‘Larger than life’Allusion to contemporary
context – disguised or implied through allegory, often making
social or political criticismMany genres share characteristics
Enhanced Character, Enhanced ConditionsCharacters are more
‘expressive’ than realistic Both the Protagonist and the
Antagonist have greater than average abilities
(Aristotle)Protagonist- More ability in support of the
‘good’Antagonist – More ability in support of the ‘bad’Women
are more beautiful, Men more dashing more intelligent, more
attractive, more funny, etcThe everyday world is ‘larger than

23. life’Archetype
Genre Attributes-The WesternEach genre has unique attributes –
Review Barsam.The Western historical backdrop of the ‘wild
west’, (setting) Horses, towns, cows and saloonsNarrative
actions: Manifest destiny, law vs lawlessness, cowboy vs
indian, the cultivating of the wild, the hero AND the romantic
interest.Clearly defined character types, the Sheriff (lone
ranger), the outlaw, the ‘school marm’ (ranchers wife), the
barmaid, the ‘doctor’, the rancher, etcClearly defined narrative
outcomes. Sheriff defeats outlaw (usually in a
‘showdown’).Love is unobtainable, The ‘hero’ rides off into the
sunset, etc
Stages of GenrePrimitive (inception)ClassicRevisionistParody
Classic GenreA genre becomes ‘classic’ by popular consensus,
embodying all of the conventions of that genreHeight of
popularityVariety, yet still conforms to ‘guidelines’ of genre.
Many filmmakers are challenged to make a story interesting
within its ‘form’Modify, something newSome of the most
creative work happens within a genre for it gives the filmmaker
something to ‘push back against’
Evolution of a genreA genre peaks when it has been absorbed
into a culture.When variety has been exhausted, genre becomes
‘predictable’ (loss of interest)In order to maintain popularity a
genre may be ‘revised’Alters accepted conventions (character

24. type, narrative outcome)
Revisionist GenreRevisionist Genre revises the ‘classic’ model
by radically altering its attributesChallenges audience
expectationsCharacters assume qualities not associated with
typeActions and Narrative Outcomes defy the classic
modelRevisionist genre is still predominately identified with the
genre, however:turns the classic stage of genre ‘on its head’May
contain figurative usesallegory message
ParodyParody, makes fun of the conventions found in genreIt
requires a prior understanding of the genreMust be thoroughly
absorbed into the cultureAudiences are included (with a ‘wink
and a nod’) to an open criticism of a genres convention.Political
satire, style or other ‘generic’ conventions are ridiculed.
(spoofs, Molierre, Swift)View: Django
Multiple Genre/Other UsesMultiple genre blends distinct,
recognizable characteristics of more than one genreHomage can
allude to a specific genre. Other stylistic or narrative traits may
be ‘borrowed’, and incorporated making it difficult to associate
with a specific genre. Thriller, may work in part of a drama, a
coming of age tale may be set in the west etc.
‘Conventional’ CinemaForm and content are manipulated

25. (enhanced)Classic Story StructureHollywood Style
HOWEVERConventional/Classic Story-replicates our
perception of ‘real life’
Conventional Cinema ManipulatesEven in so called
‘conventional’ film ‘reality’ is distortedSelection of events
(plot, Barsam-lec1)Duration of timePOV
Review: Barsam- Summary and Stretch relationship
The Hollywood StyleContinuity StyleMaintains continuity of
time and placeEvents are determined by cause and effect
Forward, linear motion from beginning to endA conflict is
followed by a resolutionIts form is ‘invisible’, reducing the
perception of ‘artifice’reinforces our perceptions of the ‘real
world’
The FlashbackOrder of EventsThe FlashbackDefies linear
progression of time ‘Mindscreen’ (The Big Swallow, 1902,
Brighton School)
Cinematic Reality =/= RealityCinema has the capacity to
manipulate events to such an extent that they do not conform to
our shared perception of the ‘real world’?A film’s Context can
alter our shared perception of the ‘real world’ to the inherent
logic of the film itself. Elements can be manipulated to alter the
way we ‘read’ a film.As cinema has evolved, so has the capacity
of the filmmaker to utilize these formal properties.

26. Other types of Story StructureGodard, (French New Wave)
states: “It is true a film must have a beginning, middle and end
but not necessarily in that order”
The Non-Linear FilmIn a non linear film events occur ‘out of
order’.The ‘effect’ may happen before the ‘cause’Emphasis is
shifted from content (story) to form (style)
Potential for Cinematic ExpressionIncreases the potential of
cinematic expression by utilizing other inherent elements of the
cinemaVisual elements, Structure (editing)
Emphasis and Meaning in the Non Linear FilmStory may be less
complicatedMeaning is derived ‘intellectually’Meaning is
derived through formal elements: visual*, stylistic, or figurative
*This may include visual effects
Linear vs Non LinearA film that is non linear may have the
potential to broaden cinematic expression, but this does not
necessarily make it a ‘better film’ A film that is more ‘artistic’
is not necessarily a more enjoyable film

27. Point of ViewPOV is a strong narrative devicePOV influences
the way we identify with charactersThe more time we see a
character on screen the more we identify or assume their
POVPoint of View limits our perspective, it directs our
attention. Increase dramatic tensionIf we are given narrative
detail through a character’s perspective it can distort ‘objective’
reality.
The Ambiguous EndingThe ‘ambiguous’ ending defies classic
story structure, however it may be provocative Contrary Ending.
Defiance of established norms-reflect changing social
values,media literacy The protagonist may not successfully
complete his or her goal, may have few, redeeming qualities, or
the antagonist, may in the end, ‘win the day’Ambiguity and
defiance of narrative outcomes, if perceived as INTENTIONAL,
raises questions, potentially challenging an audience and their
reliance on convention
FS 1 Film Appreciation
An Introduction To Understanding The Aesthetics Of The
Movies
Course RequirementsExams (35%)
Midterm
FinalWeekly Quiz Writing Assignments (50%)
Discussion, Attendance (15%)3 unexcused absences = fail the
courseCanvas

28. TextLooking At Movies by Richard Barsam (5th edition)3rd
edition on Reserve at the libraryWeekly Reading Assignments
see schedule below for Chaps and due dates
Writing AssignmentsTotal of 10 films.5 films screened by
Midterm 5 films screened by Final Length: 2-3 pages Prompts
posted on CanvasAssignments submitted on Canvas Due before
class start time.Observe deadlines- NO LATE
ASSIGNMENTSWriting Assignments = 50% of course grade
ExamsMid Term- take home (Canvas)70 multiple choice
questionsFinal Exam- in class 70 multiple choice
questionsScantronExams = 35% of course grade
ClasstimeMonday – Lecture 2 partsbreakWed - ViewingEntire
class timeRole Sheets- beginning and end of each classOffice
Hour ‘virtual’ Email – [email protected]
Attendance/DiscussionClass discussion is integrated during
lecture consistent class participation will improve your
grade.Be on time, Do not leave early, both classes15% of course
grade
Critical Evaluation

29. Formal AnalysisBreak down the component elements
Understand and apply TermsReintegrate to enhance over all
understanding (appreciation) of cinemaThe ‘Language’ of the
CinemaTerms we use to identify cinematic elements
Four Central ComponentsNarrative (story)Mise en
SceneEditingPerformance
Form and ContentForm design, structureThe form of a film is
how it is presented on screen Content interpretation, meaning
The content of film is what the film is about
Traditional CinemaIn most ‘traditional’ cinema content is
emphasizedStory is predominateGenreClassic Hollywood
StyleIn many films form is emphasizedVisual Style
How does an emphasis on formal elements increase the potential
of cinematic expression?
ThemeBarsam: A unifying idea that film expresses through its
narrative or imageryA film can have many themes. Some films
are more ‘thematically driven’ than others‘Love conquers all’ is
a theme
MetaphorMetaphor is an image that represents, figuratively, a
literal aspect of a film.often addressing themeThe ocean may be
a metaphor for the beginning of life.

30. Lec 1 Part 2
StoryWhen asked, What makes a good film, Louis B Mayor
said: “Story Story Story”Story = Narrative*
Narrative
Barsam: any cinematic structure in which content is selected
and arranged in a cause and effect sequence of events occurring
over time*A broad definition can apply to fictional,
documentary or experimental films.The ‘narrative’ of a fact or
event‘every picture tells a story’
Narrative Films=Fictional Films
* This does not mean a chronological, forward moving sequence
of events
Elements of a ‘good’ StoryAristotle (4th cent, Poetics) states a
good story must have a beginning middle and end.Conflict,
Climax, ResolutionStory Arc
ConflictNo Conflict No StoryConflict: clash of opposing
‘forces’A goal the character wants somethingOpposition to that
goal, either another character or dramatic condition.Antagonist
vs ProtagonistOften, both want same goalGoals have
consequences (stakes)If the goal will be accomplishedHow the
goal will be accomplished

31. ClimaxConflicts come to together and ‘demand’ a resolution
The point of ‘no return’Decisive momentNo way out --
opposing forces ‘demand’ a resolutionPlot twist (peripity)
expired.
Often the most ‘dramatic moment’ in a film
ResolutionThe ending of the filmStasis or equilibriumThe
dramatic conflicts are ‘solved’One character obtains the goal,
the other is defeatedSatisfying EndingHigher ‘noble’ purpose
Not necessarily a ‘Happy Ending’The ‘hero’ may die, but for
the greater good
Fretags Pyramid
Narrative Structure
Barsam pg 136
Crisis Climax
Rising Action and Stakes
Act 1: Setup Act 2: Conflict and
Obstacles Act 3: Resolution
Inciting Incident

32. Plot vs StoryPlot duration= All events seen on the screen; a
‘map’, delineating the course of eventsStory duration= All
events implied, or referred, including Plotimportant
character/narrative information often done through
ExpositionLouise Plot- Portrayed as strong woman, won’t go
through Texas Story- Vulnerable. Has ‘secret’, raped in Texas
when youngStory and Plot overlap
Classic Story StructureCharacters and Events ‘larger than
life’Aristotle‘Worthwhile’ Characters maintain positive
attributes above average‘Worthless’ characters maintain
negative attributes above averageSuccession of events in a
linear progression (from beginning to end) Emphasis on Story
content over formal considerationsClassic Hollywood Style
structure is designed to promote the story
Hollywood StyleHollywood style employs many of the elements
of Classic Story StructureEmphasis on StoryCasa Blanca the
‘quintessential’ Hollywood style.
Hollywood StyleGolden era- 1930-40’sA system that
‘industrialized’ Movie Making Sophisticated techniques in
Story, Visual, Performance and EditingForm is
‘invisible’Factory of DreamsThe starPrimarily to entertain a
mass audienceEconomic return Technique and Craft

33. Characteristics of Hwood StyleClearly defined characters,
clearly defined goalsHigh Production valuesThe ‘look’Invisible
style that promotes story and characterSatisfying viewing
experience (entertaining) emphasizing positive attributes
Winners over losers, success over failure.Moral
attributesDominance of Genre Films
The AntiheroProtagonist is flawed, unlikely or
unwilling.Demonstrates complexity of characterAppeals to
human nature (realistic) lends to ‘identification’ with
characterGoes through transition, Character arc becomes a
‘hero’ (arises to the occasion) Creates ambiguity and potentially
conflicting narrative outcomesRick Blaine in Casablanca is a
‘classic’ antihero
Is a Hero, Not VillianThe Anti-Hero is a protagonist, a (‘hero’)
and NOT the antagonist (bad guy)
Suspension of Dis Belief
Why the term Disbelief, why not suspend belief?A film must
create an illusion of ‘reality’ and convince us of that ‘reality’
despite the fact that we know that is ‘just a film’ Often used in
the context of performance
Inciting Incident
Crisis Climax

34. Rising Action and Stakes
Act 1: Setup
Act 2: Conflict and Obstacles
Act 3: Resolution