3000 introduction spring 2016

YEAR IN FILM 2015 HD (3:22) https://youtu.be/dfqtSsaXsbE

1939 A Montage – Part 5 Frankly My Dear There’s No Place Like Home (8:27)
http://youtu.be/J4JlwH2owVs
76 years earlier …

Inside Industrial Light and Magic’s Secret Star Wars VR Lab (16:52)
http://www.theverge.com/2015/8/13/9131805/ilm-ilmxlab-interview-virtual-reality-
star-wars-movies
Coming soon?

Introduction
EMC/JOUR 3000 Intro to Motion Pictures
Edward Bowen

Movies
Think About …
• What they say about us
• What they say to us
• And how they say it

Movies
The Technical Dimension: The communication
devices that arise from the process of motion
photography and production, including camera
movement, composition, sound, lighting, editing,
etc.
The Dramatic Dimension: The factors involved in
the telling of the story, be it fiction or non-fiction,
including theme, plot, characterization, story
structure, etc.
The Auteur Dimension: The factors in a work that
characterize the film as the unique product of a
director, or of a studio, producer, or actor; that is,
the person or persons who can be considered the
author of the work.

Movies
The Genre Dimension: The factors in a work that
result from it being in one, or a combination of,
genre(s) (that is, classes or types of stories), and how
the history of and expectations engendered by the
genre service the film. Genres can be based on many
factors such as location (the western), type of story
(action, love, mystery), content (musical, science
fiction, nature), or style (experimental, avant-garde,
etc.).
The Rhetorical Dimension: The factors in a work that
deal with its impact on an audience ("rhetoric"
means to influence an audience), the point or points
the film may be trying to make, the messages the
film may be trying to convey, the call-to-action the
film may be championing.
The Socio-Historical Dimension: An understanding of
where the film rests in the history of motion pictures
and of the world and society in general.

Trailer
3000 Intro Montage V03 (2:11) http://youtu.be/oIcZNw-LM0s

13 Hours: The Secret Soldiers of Benghazi

The movie focuses, on six members of a
private security team contracted by the CIA
fighting to defend an American diplomatic
compound in Benghazi, Libya during
terrorist attacks in 2012.
The attacks resulted in four deaths, including
The American Ambassador to Libya.
Contentious elements of the story include
the “stand down” order issued to the team
By CIA officers and the adequacy of diplomatic
Security in Libya. How this reflects on the
Obama administration and the tenure of then
Secretary of State Hillary Clinton plays into
the current presidential campaign.

13 Hours: The Secret Soldiers of Benghazi TV SPOT Outgunned (2016) – Action HD (:30)
https://youtu.be/T33Mr9vosAo

13 Hours: The Secret Soldier of Benghazi
http://www.nbcnews.com/pop-culture/movies/former-
benghazi-cia-chief-slams-13-hours-secret-soldiers-
benghazi-n497506

https://www.washingtonpost.com/world/na
tional-security/former-cia-chief-in-benghazi-
challenges-film-version-of-2012-
attack/2016/01/15/9cf2defc-baf7-11e5-
b682-4bb4dd403c7d_story.html

http://www.theatlantic.com/entertainment/archiv
e/2016/01/13-hours-michael-bay-benghazi-
review/424299/

http://www.nydailynews.com/news/politic
s/trump-rents-iowa-theater-show-
benghazi-film-13-hours-article-1.2498106

http://www.dailymail.co.uk/tvshowbiz/article-3402220/Shirtless-John-Krasinski-reveals-
rippled-torso-new-photo-13-Hours-sharing-secret-new-buff-body.html

Another controversial and contentious aspect of the Benghazi story is the extent
to which the attacks were a reaction to another movie.
“The Innocence of Muslims” is an ultra-low budget, amateur, anti-Islamic movie
“trailer” uploaded to to YouTube weeks before the attacks. The 14 minute video,
described by Vanity Fair as “exceptionally amateurish with disjointed dialogue,
jumpy editing, and performances that would have looked melodramatic even in a
silent movie, the clip is clearly designed to offend Muslims, portraying
Mohammed as a bloodthirsty murderer and Lothario and pedophile with
omnidirectional sexual appetites."
http://www.vanityfair.com/culture/2012/12/making-of-innocence-of-muslims

http://newmediarockstars.com/tag/innocence-of-muslims/
The ban on the video enforced by YouTube and other venues raises freedom of
speech questions as well

http://www.dailykos.com/story/2015/01/12/1356618/-What-duty-to-historical-accuracy-
does-a-film-have
What Duty to Historical Accuracy
Does a Film Have?

Star Wars: The Force Awakens
As of 1/17/2016:
Opening Weekend: $247,966,675
Total Domestic Gross: $851,052,841
Worldwide Gross: $1,863,652,841
https://en.wikipedia.org/wiki/List_of_box_office_records_set_by_Star_Wars:_The_For
ce_Awakens

As of 1/17/2016:
Highest Grossing Films:
1. Avatar - $2,787,965,087
2. Titanic - $2,186,722,302
3. Star Wars: The Force Awakens -
$1,869,544,841
4. Jurassic World
5. The Avengers
6. Furious 7
7. Avengers: Age of Ultron
8. Harry Potter and the Deathly
Hallows – Part 2
9. Frozen
10. Iron Man 3
ce_Awakens

As of 1/17/2016:
Highest Grossing Films Adjusted for
Ticket Price Inflation:
1. Gone With The Wind
2. Star Wars
3. The Sound of Music
4. E.T.: The Extra-Terrestrial
5. Titanic
6. The Ten Commandments
7. Jaws
8. Dr. Zhivago
9. The Exorcist
10. Snow White and the Seven Dwarfs
http://www.boxofficemojo.com/alltime/adjusted.htm

Grosses Unknown
Most Viewed Film in History?
The Hollywood Blockbuster that Brought the
KKK Back to Life
http://modernnotion.com/birth-of-a-nation-
brought-back-the-kkk/

Practical vs. CGI Effects
This One-Hour Conversation About the VFX in
Star Wars: The Force Awakens is Fascinating
http://io9.gizmodo.com/this-one-hour-
conversation-about-the-vfx-in-star-wars-
1753538070

Hollywood’s Turn Against Digital Effects
http://www.newyorker.com/culture/cultural-
comment/the-turn-against-digital-
effects?intcid=mod-yml

Star Wars – The Force Awakens – Comic-Con 2015 Reel https://youtu.be/CTNJ51ghzdY

Star Wars – The Force Awakens Filming in Abu Dhabi Behind the Scenes
https://youtu.be/puGOpIU5y3s

What does it say about us
that this is the most
“popular” movie of our
time?
Is “the movie” saying
anything to us?
ce_Awakens

http://www.eonline.com/videos/243514/why-harrison-ford-thinks-star-wars-is-so-
successful
“There’s something
worthy about the
experience the
characters have. It’s
useful … tribal
knowledge.”

Star Wars: The Force Awaken’ Succeeds, But
Trades Wisodom for Woes
http://thinkprogress.org/culture/2015/12/18
/3733910/star-wars-the-force-awakens-
review/
Is Joseph Campbell’s “The Hero’s Journey”
Dead in Screenwriting Today?
http://www.huffingtonpost.com/screencraft/i
s-joseph-campbells-the-h_b_8861998.html

The Hero’s Journey https://vimeo.com/140767141

The Hero’s Journey https://vimeo.com/19459828

George Lucas Vs. J.J. Abrams
J.J. Abrams’ Star Wars Vs. George Lucas’ Star
Wars Means More Collaboration on The
Force Awakens
http://www.bustle.com/articles/128769-jj-
abrams-star-wars-vs-george-lucas-star-wars-
means-more-collaboration-on-the-force-
awakens
Why J.J. Abrams Might Be An Improvement
on George Lucas for Star Wars
http://www.forbes.com/sites/jonathanleaf/2
015/12/17/why-j-j-abrams-might-be-an-
improvement-on-george-lucas-for-star-
wars/#2715e4857a0b7e47a10ed3f9

Director J. J. Abrams has been lauded for bringing his unique style and tone to
a large franchise previous dominated by another director . The idea that the
director of a film is the guiding force behind its artistry and technique is the
Auteur Theory.
In cooperation with George Lucas, JJ Abrams, and Michael Bay, Titanic
now in Super 3D (1:27) http://youtu.be/byXqRsOilBs

Star Wars: The Force Awakens Reflects Our
Diverse, Modern World
http://www.latimes.com/entertainment/movi
es/la-et-mn-star-wars-diversity-20151221-
story.html
Star Wars: The Force Awakens Gave My
Daughter a Galaxy
http://www.forbes.com/sites/matthewherper
/2015/12/22/the-new-star-wars-movie-gave-
my-daughter-a-
galaxy/#2715e4857a0b40d9048a6682
Star Wars Black Character Controversy:
African-American Sci-Fi Fans Battle Genre’s
Racial Stereotypes
http://www.ibtimes.com/star-wars-black-
character-controversy-african-american-sci-fi-
fans-battle-genres-2230342

The Hidden Meanings in Kids’ Movies
http://youtu.be/ueOqYebVhtc (13:00)

http://www.news.com.au/finance/business/media/the-secret-weapon-behind-star-
wars/news-story/75eb078a8b14d93fce23b06e98805ffb
Marcia Lucas:
She decided Obi-Wan should die in
the Death Star.
She convinced George Lucas to keep
the little ‘kiss for luck’ before Luke and
Leia swing across the Death Star
chasm.
She insisted that the little robot
mouse that Chewbacca scares remain
in the film.
She is credited with saving the trench
run climax, rewriting it in the edit.

Women in Film
http://www.lennyletter.com/work/a147/jennifer-lawrence-why-do-i-make-less-than-
my-male-costars/

Women in Film
https://www.nyfa.edu/film-school-blog/gender-inequality-in-film/

Women in Film
The Bechdel Test for Women in Movies (2:03)
http://youtu.be/bLF6sAAMb4s

Women in Film
The Oscars and The Bechdel Test (10:30)
https://youtu.be/PH8JuizIXw8

Women in Film
Geena Davis’ Two Easy Steps to Make Hollywood Less Sexist
http://www.hollywoodreporter.com/news/geena-davis-two-easy-steps-664573
Geena Davis Institute on Gender in Media http://seejane.org/
1. In scripting, change male
character’s first names to women’s
first names.
2. In describing a crowd scene,
describe as 50% women.

The Hateful Eight and The Revenant

http://www.kansascity.com/entertainment/performing-arts/article53576290.html
“Bottom line: Westerns are
nothing if not malleable. You can
twist them, turn them inside out,
slice them to other genres, set
them in the past, present or
future — and still make a
memorable film. We, the
audience, are now so far removed
from the American frontier
experience that we’ll accept
almost any permutation as long
as it holds our interest and finds
new ways to re-energize the
genre’s most satisfying
ingredients.”

http://www.rollingstone.com/movies/news/why-westerns-are-tragically-more-relevant-
than-ever-20151229
“We live in a country where
there are officially more guns
than there are people, where
gun violence seems nearly as
prevalent in movie theaters as
it is on movie screens, and
where a significant portion of
the populace is subject to so
much acquitted violence that a
national movement is required
just to reinforce the fact that
their lives matter. Life is
tenuous, and death is a closed
circuit of ritualized forgetting.
It's 2015, and the United States
of America is more of a
Western than ever. “

Quentin Tarantino
Reservoir Dogs
Pulp Fiction
Jackie Brown
Kill Bill: Vol 1
Kill Bill: Vol 2
Death Proof
Inglourious Basterds
Django Unchained
The Hateful Eight
Alejandro
Gonzalez Inarritu
Amores Perros
21 Grams
Babel
Biutiful
Birdman or (The
Unexpected Virtue of
Ignorance
The Revenant
The Auteur Dimension

The Hateful Eight
Side By Side Official Trailer (1:47) https://youtu.be/aFGJY_NJwwg
Film vs. Digital

The Hateful Eight
THE HATEFUL EIGHT – 70mm Roadshow Featurette (1:37)
https://youtu.be/r2T9FhDR3zY
Film vs. Digital

The Hateful Eight
THE HATEFUL EIGHT Featurette – 70mm Filming (2015) (7:49)
https://youtu.be/NnKPnbdluUw
Film vs. Digital

Space
• Space in Cinema is defined by “the frame.”
• The frame is a two-dimensional boundary, a rectangle with height
and width, a window through which, at any given moment, a part of
the world of the film is revealed to us.

Space
“Cinema is a matter of what's in the frame and what's out.”
Martin Scorsese

Space
• In an essay from 1929, “The Filmic Fourth Dimension,” Sergei Eisenstein
wrote about the impossibility of “the single-meaningness” of the film
frame, which “can never be an inflexible letter of the alphabet, but must
always remain a multiple-meaning ideogram.” And part of the frame’s
meaning lies outside of the frame itself, in the implied off-screen space
that surrounds it, accumulated in fragments from places the film has
already taken us.
http://www.filmmakermagazine.com/news/2012/07/the-blue-velvet-project-143/

Space
Inside the frame is material, physical, specific.
Outside the frame is imagination, suggestion, memory.

Space
Inside the frame is material, physical, specific.
Outside the frame is imagination, suggestion, memory.
http://www.filmmakermagazine.com/news/2012/07/the-blue-velvet-project-143/

Space
Aside – The “frame” also defines time in cinema, but that’s a different
definition of frame. More on that later.

Space
• The frame obviously comes in different sizes, depending on the
viewer’s choice of medium.

Space
• An aside from Director David Lynch
http://youtu.be/wKiIroiCvZ0 (:31)
http://youtu.be/BcNLEwf2pOw

Space
• The frame also comes in a variety of shapes.

Space
The frame’s shape is described by a ratio of its width to its
height, its aspect ratio.
http://www.gcmstudio.com/filmspecs/filmspecs.html

Space
Aspect Ratios
http://www.gcmstudio.com/filmspecs/filmspecs.html

Space
• Standard or Academy ratio (4 X 3 or 1.33:1). In adopting the 35 mm
format, early filmmakers established the standard aspect ratio as a
classical rectangle with a ratio of four units of width to three units
of height. Thus if the projected image is twenty feet wide it will be
fifteen feet high.

Space
Aspect Ratios – 1.33:1 or 4:3 Academy Ratio

Space
• The frame’s shape is described by a ratio of its width to its height,
its aspect ratio.
• Widescreen. Experiments in wider aspect ratios are almost as old
as cinema itself. Early filmmakers often employed mattes to
reshape their images WITHIN the 4:3 ratio, straining against the
tyranny of the frame.

Space
Aspect Ratios – 1.66:1 European and British Standard Widescreen

Space
Aspect Ratios – 1.85:1 Standard Widescreen

Space
Aspect Ratios – 2:35:1 Anamorphic of Super 35mm Widescreen

Space
Aspect Ratios – 2.76:1 Ultra Panavision 70

http://www.empireonline.com/
movies/features/film-studies-
101-aspect-ratios/

“The Grand Budapest Hotel” (Wes Anderson, 2014)
1985 to Present
1960s
1930s
The Grand Budapest Hotel

Space
its aspect ratio.
• Widescreen. Experiments in wider aspect ratios are almost as old
as cinema itself. Early filmmakers often employed mattes to
reshape their images WITHIN the 4:3 ratio, straining against the
tyranny of the frame.
“The Wildcat”
Ernst Lubitsch (1921) (4:26)

Space
its aspect ratio.
• Widescreen. In 1927, director Abel Gance’s combined three side-by-
side regular-sized screens, producing an effective aspect ratio of
3.99:1, for “Napoleon.”

“Napoleon”– Abel Gance (1927)
Space
http://vimeo.com/26322723 (1:51)
http://youtu.be/cMlnRP3qOYE

Space
its aspect ratio.
• Widescreen: Efforts to introduce widescreen technology were not
successful until the 1950s when cinema tried to counter program
against television. Cinemascope an Cinerama had ratios of
approximately 2.66:1

Fred Waller – Inventor; Oversaw the photographic research
and special effects department for Paramount Studios in
the 1920s and 30s; Held over 1000 patents on a variety of
inventions.
Aside
http://www.in70mm.com/news/2002/this_is_cinerama/chapters/index.htm
http://www.ferdyonfilms.com/2008/persons-of-interest-fred-waller/243/

Fred Waller – Akwa Skees
Aside
http://www.cineramaadventure.com/skees.htm
Waller invented water skis as a camera platform.

Fred Waller – Director
Aside
http://www.cineramaadventure.com/featurette.htm

Fred Waller – Director
Aside
Duke-Ellington-and-his-Orchestra-Symphony-in-Black.mov (9:30)
http://video.google.com/videoplay?docid=-7653085842645884021#
Between 1933 and 1937, Waller directed 22 short subjects with African-
American casts and performers.

Fred Waller – 360 Degree Still Camera
Aside
http://www.widescreenmuseum.com/widescreen/wingcr1.htm
Waller invented a still camera that captured a 360 degree image.

Fred Waller – Vitarama (Developed for the 1939
World’s Fair
Aside
http://jimlanescinedrome.blogspot.com/2012/08/ups-and-downs-of-rollercoaster-part-1.html
Vitarama was an immersive film experience utilizing eleven synchronized
projectors and a domed screen

World’s Fair
Aside
http://jimlanescinedrome.blogspot.com/2012/08/ups-and-downs-of-rollercoaster-part-1.html
Vitarama was an immersive film experience utilizing eleven synchronized
projectors and a domed screen.

World’s Fair
Aside

Fred Waller – Waller Gunnery Trainer
Aside
http://www.widescreenmuseum.com/
widescreen/waller01.htm
The Vitarama system was adapted into a virtual reality trainer for the United
State Air Force

Aside
http://www.cineramaadventure.com/trainer.htm

Aside
http://www.in70mm.com/cinerama/archive/war/index.htm

Fred Waller – Cinerama (2.60:1)
Aside
http://www.in70mm.com/cinerama/archive/story/index.htm
And the Gunnery Trainer was adapted to Cinerama, an early wide screen system
employng three synchronzed projectors

Cinerama (2.60:1)
Space
(3:17) http://youtu.be/lII5rXbxcCs

IMAX – 1.36:1
Standard IMAX screen is 22 × 16.1 m (72 × 52.8 ft)
Space
The Dark Knight Rises Premieres in IMAX at Liberty Science Center http://youtu.be/Wm2vIaD3GYQ

IMAX – 1.36:1 (old shape, new size)
Space
(2:07) http://youtu.be/Ou6_MkIvKOo http://youtu.be/2p8OALI74h0

Meanwhile in theaters 8 and 9 …

The Big Short
On the Money: How The Big Short and its Jerk Heroes Explain Finance
http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-
jerk-heroes-explain-finance
The Big Short directly addresses the issues of historical accuracy and dramatic license
by having its characters admit the film’s exaggerations and inventions, or explain
complex financial transactions, directly to the audience. This is called “breaking the
fourth wall.”

The Big Short
The Big Short – “Jenga” Clip (2015) (3:45) https://youtu.be/3hG4X5iTK8M

The Big Short
The Big Short – “The Big Leap” (1:38)
https://youtu.be/QQhILjcezWY

The Big Short
How to Break the Fourth Wall http://consequenceofsound.net/2015/06/how-to-
break-the-fourth-wall/
CINEMA COMPILATION: 4th Wall Breaks and Looking in Lens (5:00)
https://vimeo.com/108023606

Spotlight
http://screencrush.com/spotlight-best-picture-direction/

Straight Out of Compton
Movie Executive Assumptions:
Black Audiences want to see White
films but White Audience don’t want to
see Black films.
Black films cannot find audiences
overseas.
These limitations mean that Black films
need to make do with smaller budgets.

Past the Concession Stand in Theater 19 …

Sicario
Sicario Cinematographer Roger Deakins – Variety Artisans (4:47)
https://youtu.be/WwXuDGxDGCE

Sicario
Roger Deakins Doesn’t Care About the Film Versus Digital Debate
http://www.indiewire.com/article/roger-deakins-doesnt-care-about-the-film-
versus-digital-debate-20151207

Across the Hall in Theater 12 …

The Hunger Games: Mockingjay Part 2

The Hunger Games: Mockingjay – Part 2
The Hunger Games – What’s It About
• Children Killing Children in a Dystopian Future United States
• Voyeurism and Violence
• Gladiatorial Combat
• Reality Television
• The Iraq War
• The Vietnam War
• The Failure of Government
to serve its people
http://abcnews.go.com/Entertainment/meet-woman-created-hunger-
games/story?id=15970640#.UD1ux82k2x4

The Hunger Games
• PG-13 – The Impact of the Rating System on Content
• Rated PG-13 "for intense violent thematic material and
disturbing images - all involving teens."
Rating the Violence: The Hunger Games’s Violence Solution
http://gawker.com/5895863/rating-the-carnage-the-hunger-gamess-violence-solution
Will Mockingjay Part 2 Fetishize Violence http://www.bustle.com/articles/124392-will-
mockingjay-part-2-fetishize-violence-how-the-hunger-games-has-handled-the-topic-so-
far
The Uncomfortable Violence of The Hunger Games Mockingjay
https://bitchmedia.org/article/uncomfortable-violence-hunger-games-mockingay

The Hunger Games - Cultural Resonance (Precursors)
• The Condemned (2007)
• Series 7 – The Contenders (2001)
• Battle Royale (1999/2000)
• The Running Man (1982/1987)
• The Long Walk (1979)
• Lord of the Flies (1954/1963/1990)
• The Most Dangerous Game (1924/1932)

The Hunger Games - Cultural Resonance
• Battle Royale (1999/2000) – What’s IT About?
• Children Killing Children in a alternate version of Japan
• Voyeurism and Violence
• Gladiatorial Combat
• Violence and Death in World War II Japan
• The Modern Education System
http://io9.com/5888124/did-the-hunger-games-really-rip-off-battle-royale
http://www.jonathanlack.com/2012/03/hunger-games-versus-battle-royale.html
http://www.newyorker.com/online/blogs/culture/2012/04/the-real-hunger-games-battle-royale.html

The Hunger Games (2008/2012) - Cultural Resonance
BATTLE ROYALE trailer -- Coming soon to blu-ray & dvd! (1:48) http://youtu.be/SIuRjqcpuGQ

The Hunger Games (2008/2012) - Cultural Resonance
Battle Royale (2000) - Kinji Fukasaku - Trailer - [HD] (1:40) http://youtu.be/qMOCEF4n_zs

“Thor” Kenneth Branagh 2011

Turn the camera upside down, and the world is upside down.
Devil Credits.mov (2:19) http://mtmedia.mtsu.edu:8888/ebowen/Devil Credits.mov

Turn the camera upside down, and the world upside down,
and it’s something different

3000 introduction spring 2016

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