Hollywood Basics
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Based on Film Studies Course, John F. Kennedy Institute of North American Studies, Dept of Culture. "Hollywood Snoops"
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Auteur theory and Hitchcock FS4
Auteur Theory describes a film director who exerts strong authorial control over their films through recurring themes, styles, and personal aesthetic visions. It was developed by French film critics in the 1950s to identify directors like Alfred Hitchcock, whose films have distinct visual styles and psychological themes. Hitchcock is considered a master of suspense who uses techniques like camera angles, editing, and sound to build tension. Films like Rear Window exemplify his talents and themes of voyeurism through their narrative perspectives and mysterious plot devices called MacGuffins.
Hitchcock as an auteur handout
The document discusses Hitchcock's film Vertigo in the context of the auteur theory of authorship. It argues that Vertigo exemplifies Hitchcock's personal directorial style through its suspenseful elements, characterization, and use of techniques like camerawork and editing. However, it also notes that defining an auteur's personal style and identifying their most representative works is complex, as different critics may interpret style differently or focus on different aspects of a film.
Formalist film theory presentation
Formalist film theory views film as an art form rather than a reproduction of reality. It emphasizes that filmmakers can manipulate and mold images to create story and emotion through techniques like editing, lighting, and camerawork. There are different approaches under formalism like neo-realism and avant-garde. Formalism also focuses on how socio-economic pressures influence film style and the communication of ideas. Two examples are Classical Hollywood cinema, which created a closed, pleasant world for audiences, and film noir, known for urban settings and flawed main characters. Formalist theory also helped establish the auteur theory by arguing that films have authors like other artistic works.
Auteur theory
This document provides information about auteur theory in film. It discusses how auteur theory views the director as the primary author or "auteur" of a film, with the director's personal style and recurring themes appearing across their body of work. The document traces the origins of auteur theory through the work of French critics in the 1950s-60s and discusses how it gave more power to directors. It also examines some criticisms of auteur theory and considerations of other potential "auteurs" like producers, actors, or stars. Overall, the document serves as a useful introduction and overview of auteur theory in cinema.
Genre Theory for G321 AS Media Coursework
This document discusses key concepts in media studies for analyzing texts, including genre, narrative, representation, audience, media language, and institution. It provides definitions and examples of different genres like thrillers. It also summarizes theories around genre from scholars like Buscombe, Altman, Chandler, Neale, and Buckingham. These theories discuss genre in terms of iconography, codes, conventions, and the tension between repetition and difference that allows genres to evolve over time through hybridization.
Genre Theory
This document discusses genre theory and its application to defining the thriller genre. It explores different models of genre theory, from traditional views that see genres as having fixed conventions to more contemporary views that see genres as dynamic and blurring between other genres. The document uses examples like North by Northwest, The Shining, Alien, and Memento to examine how films may conform to or challenge genre conventions. It also notes some of the key texts and producers that are often associated with the thriller genre.
01film Studies
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
Sub-Genre Explanation
The document discusses the choice to create a horror project within the slasher subgenre. It explains that the slasher genre allows for creative diversity and includes iconic films like Halloween and A Nightmare on Elm Street. Research was conducted on conventions of the slasher genre as well as other subgenres. The slasher was ultimately chosen because the group feels they can create realistic work that will appeal to teenagers. Inspiration will be drawn from films by Wes Craven and James Wan, including emulating bold fonts and black backgrounds used in posters for films like Scream.
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Auteur theory and Hitchcock FS4
Auteur Theory describes a film director who exerts strong authorial control over their films through recurring themes, styles, and personal aesthetic visions. It was developed by French film critics in the 1950s to identify directors like Alfred Hitchcock, whose films have distinct visual styles and psychological themes. Hitchcock is considered a master of suspense who uses techniques like camera angles, editing, and sound to build tension. Films like Rear Window exemplify his talents and themes of voyeurism through their narrative perspectives and mysterious plot devices called MacGuffins.
Hitchcock as an auteur handout
The document discusses Hitchcock's film Vertigo in the context of the auteur theory of authorship. It argues that Vertigo exemplifies Hitchcock's personal directorial style through its suspenseful elements, characterization, and use of techniques like camerawork and editing. However, it also notes that defining an auteur's personal style and identifying their most representative works is complex, as different critics may interpret style differently or focus on different aspects of a film.
Formalist film theory presentation
Formalist film theory views film as an art form rather than a reproduction of reality. It emphasizes that filmmakers can manipulate and mold images to create story and emotion through techniques like editing, lighting, and camerawork. There are different approaches under formalism like neo-realism and avant-garde. Formalism also focuses on how socio-economic pressures influence film style and the communication of ideas. Two examples are Classical Hollywood cinema, which created a closed, pleasant world for audiences, and film noir, known for urban settings and flawed main characters. Formalist theory also helped establish the auteur theory by arguing that films have authors like other artistic works.
Auteur theory
This document provides information about auteur theory in film. It discusses how auteur theory views the director as the primary author or "auteur" of a film, with the director's personal style and recurring themes appearing across their body of work. The document traces the origins of auteur theory through the work of French critics in the 1950s-60s and discusses how it gave more power to directors. It also examines some criticisms of auteur theory and considerations of other potential "auteurs" like producers, actors, or stars. Overall, the document serves as a useful introduction and overview of auteur theory in cinema.
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This document discusses genre theory and its application to defining the thriller genre. It explores different models of genre theory, from traditional views that see genres as having fixed conventions to more contemporary views that see genres as dynamic and blurring between other genres. The document uses examples like North by Northwest, The Shining, Alien, and Memento to examine how films may conform to or challenge genre conventions. It also notes some of the key texts and producers that are often associated with the thriller genre.
01film Studies
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
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The document discusses the choice to create a horror project within the slasher subgenre. It explains that the slasher genre allows for creative diversity and includes iconic films like Halloween and A Nightmare on Elm Street. Research was conducted on conventions of the slasher genre as well as other subgenres. The slasher was ultimately chosen because the group feels they can create realistic work that will appeal to teenagers. Inspiration will be drawn from films by Wes Craven and James Wan, including emulating bold fonts and black backgrounds used in posters for films like Scream.
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This document provides an overview and analysis of Alfred Hitchcock's 1958 film Vertigo. It discusses key aspects of the film including its opening titles sequence, themes of obsession, identity and the male gaze. It also analyzes the use of techniques like the "dolly zoom" or "Vertigo shot" that aim to convey the sensation of vertigo to the audience. Previous exam questions on Vertigo are mentioned that require a thorough understanding of the film, its director Alfred Hitchcock and its exploration of themes like psychoanalysis and representations of gender. Resources for further researching the film and Hitchcock's career are also provided.
Auteur Theory
The document discusses auteur theory in film, which proposes that the director is the primary author or 'auteur' of a film, with a recognizable and distinctive personal style. It originated with French New Wave directors like Truffaut, Chabrol, and Godard in the 1960s. Auteur films tend to be more stylistically sophisticated and give the director almost complete control over the filmmaking process. Critics argue it ignores the collaborative nature of filmmaking, but proponents believe successful auteur directors can withstand commercial pressures to impose their personal artistic visions. The document tasks analyzing films by Tim Burton to determine if they can be considered auteur films based on his distinctive style, recurring themes of misfits, and other signature
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This document provides definitions and examples of various styles and genres. It lists 18 styles - Modernism, International Style, Post-Modernism, Grunge, Op-Art, Pop-Art, Art Nouveau, Punk, Urban, Anime, Kitsch, Photo-Realist, Futuristic, Cartoon - and provides a definition and requested photo for each. It also lists 15 genres - Factual, Editorial, Lifestyle, Music, Adventure, Sports, Corporate, Fashion, Fantasy, Simulation, Tabloid, Science Fiction, Graphic Novel - again with a definition and photo for each. The purpose is to research and annotate examples of different styles and genres.
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The document discusses the debate around realism versus anti-realism in film. It covers several theorists and their perspectives, such as Siegfried Kracauer arguing that film is uniquely capable of mirroring reality, and Bazin viewing the camera's ability to capture reality as satisfying a human desire. The document also discusses figures like Deren who blended reality and fantasy, and Brakhage who aimed to liberate the eye from conventions. It questions if mechanical reproduction alone constitutes art, and examines how concepts like realism have evolved, especially with innovations like CGI.
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Auteur theory
The document discusses the theory of auteurism in film. It began in 1950s France where critics argued that directors had a personal creative vision that shaped their films, and that certain directors like Howard Hawks, Alfred Hitchcock, and Jean Renoir should be considered "auteurs". The theory was popularized by François Truffaut and other critics writing for Cahiers du Cinéma. It was later adopted by American critic Andrew Sarris and influenced how directors were analyzed. However, the theory was later criticized for overlooking collaboration and privileging the director's role too much.
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The document provides an overview of the film production process including pre-production, production, and post-production. It discusses key concepts in film history such as early cinema pioneers, German Expressionism, Soviet Montage, forms of cinematic meaning, and theorists like Eisenstein, Bazin, and Benjamin. Benjamin's essay on the work of art in the age of mechanical reproduction addresses how film differs from other art forms in its reproducibility and mass consumption.
Auteur Theory (TV Y1)
Auteur theory originated in 1950s France and argued that films should be viewed through the vision of the director, who imprints their personal style and themes onto films. Key figures like Francois Truffaut and Jean-Luc Godard criticized traditional French cinema and promoted a more personal, improvised style with New Wave films. While influential, auteur theory overlooks collaboration and studio influence, and some directors like Peter Jackson are more accurately described as "metteurs en scene" rather than true auteurs.
Auteur Theory
Auteur theory proposes that film directors impose their own distinctive style and personal vision on their films. Key aspects of auteur theory include the director using techniques like camera work, editing, and mise-en-scene to convey their unique artistic perspective. Famous directors like Alfred Hitchcock and Tim Burton are often cited as examples whose films have consistent and recognizable styles that support the auteur concept. Hitchcock's use of suspense and psychological themes, and Burton's gothic atmospheres and outsider characters, are signatures of their personal directorial voices.
French new wave 3
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
The french new wave
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
Session 11 auteur theory: Film Appreciation Course
The document discusses the theory of auteurism in film. It begins by defining the auteur theory, which advances that a film reflects the director's personal creative vision. It then contrasts auteur theory with genre theory, noting that auteur theory focuses on individual stylistic features while genre theory focuses on generic similarities. The document provides several examples of auteurs and their signature directorial styles, such as Alfred Hitchcock's use of cross-tracking shots. It traces the origins of auteur theory to French film critics in the 1950s and discusses how it was later developed and applied in the US.
French New Wave
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
Film noir ppt
The document provides guidance for students completing an A2 coursework assignment on film noir. Students are instructed to create a short film noir style film of approximately 5 minutes along with two additional elements of a poster, radio trailer, or film review. They are to research and document the genre conventions of film noir and apply them to their project. Students will work individually or in small groups, with roles assigned, to write a script, plan production elements, film, edit, and evaluate their work. The assignment aims to have students explore and apply their understanding of film forms and genres.
French New Wave
The French New Wave was a movement in French cinema from 1959-1965. It arose from an economic slump in the French film industry and the introduction of government subsidies that allowed new, unknown directors to make their first films. New Wave films used lighter cameras and location shooting to bring a fresh, improvisational style that broke conventions and promoted the auteur theory. Key directors like Truffaut and Godard released films in 1958-1959 that exemplified the movement's innovative techniques and willingness to tackle taboo themes.
Montage and Kuleshov Effect
Montage editing involves juxtaposing different shots together to create a new meaning greater than the individual parts. Alfred Hitchcock said montage allows editors to create ideas and emotions by piecing film clips together. Examples of films that used montage editing techniques include October by Sergei Eisenstein and Modern Times by Charlie Chaplin. Point-of-view editing shows what a character is looking at by cutting between a shot of their face and what their eyes are focused on, sometimes followed by their reaction. The Godfather uses the Kuleshov effect and parallel editing techniques effectively.
Introduction to film genre study #1 film noir
Film noir refers to dark, gritty crime films made in the 1940s-1950s that depicted a bleak, cynical worldview. These films were influenced by pulp fiction of the time and explored themes of postwar despair, alienation, and existentialism. While not intentionally created as a genre, film noir is characterized by certain visual styles, settings, character archetypes like the hardboiled detective, and themes of fatalism. Scholars debate whether film noir should be considered a genre defined by conventions or a mode that produces feelings of unease in viewers.
Film Noir powerpoint
Classic film noir originated after World War II as a way to portray the feelings of fear, mistrust, and despair felt by many at that time. Common themes included alienation, moral corruption, and paranoia. Storylines were often complex with nonlinear narratives, voiceovers, and amnesiac protagonists. Men were typically cynical while women were beautiful yet manipulative femmes fatales. Through use of shadows, smoke, and black and white film, noir created an atmosphere of menace, anxiety, and defeat.
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The document provides an overview of film noir, including its origins, key characteristics, and classification. It discusses how film noir emerged as a distinct style in American films of the 1940s, influenced by events like the Great Depression, WWII, and hardboiled crime fiction. It also notes the ongoing debate around whether film noir qualifies as a distinct genre or is more of a mood or tone. The document aims to introduce noir aficionados to the topic through various definitions, quotes, and classifications of film noir.
AOTF 9-17-2014
The document discusses several topics related to Hollywood studios and film production in the classical era, including:
1) How studio stars had power at the box office but not in production, which was controlled by the studios. Studios commodified stars to restrict their public personas.
2) How the Hollywood formula and genre system facilitated efficient production of commercial films through standardized storytelling and repetition of familiar characters/plots.
3) How the studio system, though negotiated between varied forces, created a productive equilibrium that efficiently generated creative, profitable films until the system was lost in the 1950s.
Post modernism2
Postmodernism challenges conventions in media by pushing boundaries and originality. It can apply to media texts in three aspects: challenging dominant ideologies, creating references to other works, and blurring reality. Genres are typically categorized rigidly for commercial purposes but can also be defined more flexibly to reach niche audiences. Postmodern theories like intertextuality encourage mixing genres and styles to engage audiences.
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VB
This document provides an overview and analysis of Alfred Hitchcock's 1958 film Vertigo. It discusses key aspects of the film including its opening titles sequence, themes of obsession, identity and the male gaze. It also analyzes the use of techniques like the "dolly zoom" or "Vertigo shot" that aim to convey the sensation of vertigo to the audience. Previous exam questions on Vertigo are mentioned that require a thorough understanding of the film, its director Alfred Hitchcock and its exploration of themes like psychoanalysis and representations of gender. Resources for further researching the film and Hitchcock's career are also provided.
Auteur Theory
The document discusses auteur theory in film, which proposes that the director is the primary author or 'auteur' of a film, with a recognizable and distinctive personal style. It originated with French New Wave directors like Truffaut, Chabrol, and Godard in the 1960s. Auteur films tend to be more stylistically sophisticated and give the director almost complete control over the filmmaking process. Critics argue it ignores the collaborative nature of filmmaking, but proponents believe successful auteur directors can withstand commercial pressures to impose their personal artistic visions. The document tasks analyzing films by Tim Burton to determine if they can be considered auteur films based on his distinctive style, recurring themes of misfits, and other signature
Task 1 a
This document provides definitions and examples of various styles and genres. It lists 18 styles - Modernism, International Style, Post-Modernism, Grunge, Op-Art, Pop-Art, Art Nouveau, Punk, Urban, Anime, Kitsch, Photo-Realist, Futuristic, Cartoon - and provides a definition and requested photo for each. It also lists 15 genres - Factual, Editorial, Lifestyle, Music, Adventure, Sports, Corporate, Fashion, Fantasy, Simulation, Tabloid, Science Fiction, Graphic Novel - again with a definition and photo for each. The purpose is to research and annotate examples of different styles and genres.
Film & Reality
The document discusses the debate around realism versus anti-realism in film. It covers several theorists and their perspectives, such as Siegfried Kracauer arguing that film is uniquely capable of mirroring reality, and Bazin viewing the camera's ability to capture reality as satisfying a human desire. The document also discusses figures like Deren who blended reality and fantasy, and Brakhage who aimed to liberate the eye from conventions. It questions if mechanical reproduction alone constitutes art, and examines how concepts like realism have evolved, especially with innovations like CGI.
The language of the cinema, the French New Wave and Agnès Varda
CINEMA : Cinematic language, brief sumary of the French new wave, analysis of vagabond of Agnès varda
Media Studies intro to Narrative [autosaved]
An introductions to Narrative theory for Media Studies students. From Barthes action and enigma codes to Syd Field's formulaic 3 act structure, a easy to understand and visual reference for all media students taken from www.alevelmedia.co.uk
Auteur theory
The document discusses the theory of auteurism in film. It began in 1950s France where critics argued that directors had a personal creative vision that shaped their films, and that certain directors like Howard Hawks, Alfred Hitchcock, and Jean Renoir should be considered "auteurs". The theory was popularized by François Truffaut and other critics writing for Cahiers du Cinéma. It was later adopted by American critic Andrew Sarris and influenced how directors were analyzed. However, the theory was later criticized for overlooking collaboration and privileging the director's role too much.
Film form -early cinema
The document provides an overview of the film production process including pre-production, production, and post-production. It discusses key concepts in film history such as early cinema pioneers, German Expressionism, Soviet Montage, forms of cinematic meaning, and theorists like Eisenstein, Bazin, and Benjamin. Benjamin's essay on the work of art in the age of mechanical reproduction addresses how film differs from other art forms in its reproducibility and mass consumption.
Auteur Theory (TV Y1)
Auteur theory originated in 1950s France and argued that films should be viewed through the vision of the director, who imprints their personal style and themes onto films. Key figures like Francois Truffaut and Jean-Luc Godard criticized traditional French cinema and promoted a more personal, improvised style with New Wave films. While influential, auteur theory overlooks collaboration and studio influence, and some directors like Peter Jackson are more accurately described as "metteurs en scene" rather than true auteurs.
Auteur Theory
Auteur theory proposes that film directors impose their own distinctive style and personal vision on their films. Key aspects of auteur theory include the director using techniques like camera work, editing, and mise-en-scene to convey their unique artistic perspective. Famous directors like Alfred Hitchcock and Tim Burton are often cited as examples whose films have consistent and recognizable styles that support the auteur concept. Hitchcock's use of suspense and psychological themes, and Burton's gothic atmospheres and outsider characters, are signatures of their personal directorial voices.
French new wave 3
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
The french new wave
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
Session 11 auteur theory: Film Appreciation Course
The document discusses the theory of auteurism in film. It begins by defining the auteur theory, which advances that a film reflects the director's personal creative vision. It then contrasts auteur theory with genre theory, noting that auteur theory focuses on individual stylistic features while genre theory focuses on generic similarities. The document provides several examples of auteurs and their signature directorial styles, such as Alfred Hitchcock's use of cross-tracking shots. It traces the origins of auteur theory to French film critics in the 1950s and discusses how it was later developed and applied in the US.
French New Wave
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
Film noir ppt
The document provides guidance for students completing an A2 coursework assignment on film noir. Students are instructed to create a short film noir style film of approximately 5 minutes along with two additional elements of a poster, radio trailer, or film review. They are to research and document the genre conventions of film noir and apply them to their project. Students will work individually or in small groups, with roles assigned, to write a script, plan production elements, film, edit, and evaluate their work. The assignment aims to have students explore and apply their understanding of film forms and genres.
French New Wave
The French New Wave was a movement in French cinema from 1959-1965. It arose from an economic slump in the French film industry and the introduction of government subsidies that allowed new, unknown directors to make their first films. New Wave films used lighter cameras and location shooting to bring a fresh, improvisational style that broke conventions and promoted the auteur theory. Key directors like Truffaut and Godard released films in 1958-1959 that exemplified the movement's innovative techniques and willingness to tackle taboo themes.
Montage and Kuleshov Effect
Montage editing involves juxtaposing different shots together to create a new meaning greater than the individual parts. Alfred Hitchcock said montage allows editors to create ideas and emotions by piecing film clips together. Examples of films that used montage editing techniques include October by Sergei Eisenstein and Modern Times by Charlie Chaplin. Point-of-view editing shows what a character is looking at by cutting between a shot of their face and what their eyes are focused on, sometimes followed by their reaction. The Godfather uses the Kuleshov effect and parallel editing techniques effectively.
Introduction to film genre study #1 film noir
Film noir refers to dark, gritty crime films made in the 1940s-1950s that depicted a bleak, cynical worldview. These films were influenced by pulp fiction of the time and explored themes of postwar despair, alienation, and existentialism. While not intentionally created as a genre, film noir is characterized by certain visual styles, settings, character archetypes like the hardboiled detective, and themes of fatalism. Scholars debate whether film noir should be considered a genre defined by conventions or a mode that produces feelings of unease in viewers.
Film Noir powerpoint
Classic film noir originated after World War II as a way to portray the feelings of fear, mistrust, and despair felt by many at that time. Common themes included alienation, moral corruption, and paranoia. Storylines were often complex with nonlinear narratives, voiceovers, and amnesiac protagonists. Men were typically cynical while women were beautiful yet manipulative femmes fatales. Through use of shadows, smoke, and black and white film, noir created an atmosphere of menace, anxiety, and defeat.
FILM NOIR
The document provides an overview of film noir, including its origins, key characteristics, and classification. It discusses how film noir emerged as a distinct style in American films of the 1940s, influenced by events like the Great Depression, WWII, and hardboiled crime fiction. It also notes the ongoing debate around whether film noir qualifies as a distinct genre or is more of a mood or tone. The document aims to introduce noir aficionados to the topic through various definitions, quotes, and classifications of film noir.
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The language of the cinema, the French New Wave and Agnès Varda
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Session 11 auteur theory: Film Appreciation Course
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AOTF 9-17-2014
The document discusses several topics related to Hollywood studios and film production in the classical era, including:
1) How studio stars had power at the box office but not in production, which was controlled by the studios. Studios commodified stars to restrict their public personas.
2) How the Hollywood formula and genre system facilitated efficient production of commercial films through standardized storytelling and repetition of familiar characters/plots.
3) How the studio system, though negotiated between varied forces, created a productive equilibrium that efficiently generated creative, profitable films until the system was lost in the 1950s.
Post modernism2
Postmodernism challenges conventions in media by pushing boundaries and originality. It can apply to media texts in three aspects: challenging dominant ideologies, creating references to other works, and blurring reality. Genres are typically categorized rigidly for commercial purposes but can also be defined more flexibly to reach niche audiences. Postmodern theories like intertextuality encourage mixing genres and styles to engage audiences.
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The document discusses the history and purpose of genre in media. It explains that genres originated from Ancient Greek plays that were used for religious rituals and emotional release. Over time, genres such as comedy and tragedy became standardized ways to categorize plays. The document also discusses how genres help audiences understand what to expect from different media works and allow them to be more easily marketed and sold. However, genres have become more hybridized and fluid over time as they incorporate elements from multiple genres.
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The document discusses genre conventions in media, focusing on understanding genre. It provides definitions and perspectives on genre from several sources. Key points made include that genres have characteristic features recognized by audiences, but are also subject to constant renegotiation between industry and audiences. Genres reflect the dominant values of a society at a given time. The document also includes an activity asking the reader to develop a proposal for a new television series that would appeal to a wide audience for ITV.
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Formalist film theory views film as an art form rather than a reproduction of reality. It emphasizes that filmmakers can manipulate and mold images to create story and emotion through techniques like editing, lighting, and camerawork. There are different approaches under formalism like neo-realism and avant-garde. Formalism also focuses on how socio-economic pressures influence film style and the communication of ideas. Two examples are Classical Hollywood cinema, which created a closed, pleasant world for audiences, and film noir of the 1940s-50s, known for urban settings and flawed main characters. Formalist theory also promoted the auteur theory to argue that films have authors and should be considered works of art like paintings and
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This document provides an introduction to the concept of film genre. It discusses genre as a contested area of film theory with academic debate around its definition and implications. A common definition of genre films as those that tell familiar stories with familiar characters through repetition and variation is examined and found to be problematic as it is too broad. The example of film noir is explored, with arguments that it is a style that can be present in different genres, rather than a distinct genre itself. The concept of genre is noted to be an abstract one rather than something that empirically exists.
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This document discusses genre theory and how it relates to magazines. It defines genre as the classification of media texts into categories based on similar characteristics and features. Genres have identifiable codes and conventions that audiences expect. The document discusses how genres can be hybrids that borrow elements from other genres. It also examines different scholars' perspectives on genre and how genres provide expectations and pleasures for audiences while also mitigating economic risks for producers.
Hdftv001 week01 2012 on screen
This document provides an introduction to film genre theory. It discusses genre as a contested area that is open to academic debate. Genre is defined as commercial films that tell familiar stories with familiar characters and situations, though this definition is problematic as it is too broad. The document examines the example of film noir and whether it is a style or genre. It also discusses how genres are not fixed and can adapt or combine elements. The key challenges with defining genres are addressed, such as when elements are unfamiliar or films combine genres.
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This document discusses the rise of film schools and their influence on Hollywood in the late 20th century. It describes how French film critics-turned-directors launched the New Wave movement in the 1950s-60s without formal training. American film schools then grew in the 1960s-70s, training a new generation of directors like Spielberg, Lucas, and Coppola. Hollywood recognized this generation's appeal to younger audiences and began hiring them to direct big-budget genre films that were profitable. These directors paid homage to earlier films through references and allusions in their works.
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The document discusses the thriller and suspense genre of films. It describes how the genre first emerged in the 1920s and was shaped by early films. Alfred Hitchcock helped establish conventions of the genre through films like Psycho. Today, thrillers often have mystery or surprise endings. Popular directors like M. Night Shyamalan and Brian De Palma continue to innovate within the genre through films like The Sixth Sense. Key elements of thrillers include suspense, character growth, and resolving endings. While not the most popular genre financially, it remains one of the most popular with audiences.
Understanding Movies
The document discusses various elements of movies including photography, mise-en-scène, editing, story, and genres. It covers topics such as camera shots, angles, lighting, composition, cutting techniques, narrative structures, and the conventions of different styles of films like realistic, formalistic, and documentary. Key filmmaking concepts and theories are explained through examples from famous movies.
2017 03 571
This document discusses various theoretical approaches to analyzing films, including style and genre, auteur theory, and literary, realist, and Marxist theories. It provides examples of how Francis Ford Coppola's film Apocalypse Now could be analyzed through these different lenses. The document also covers categories of film style like realism, classicism and formalism. It discusses techniques of mise-en-scène including shot types, camera angles, lighting styles, color, and character placement. Film theory provides intellectual frameworks for exploring movies from social, political, and aesthetic perspectives.
Film Genres.ppt
The document discusses film genres and genre criticism. It provides definitions of genre and describes the key elements that genres are typically analyzed in, such as narrative, tone, setting, themes, and film techniques. It also outlines some of the major genres like comedy, westerns, and their common conventions. Genre criticism is described as having three historical phases with different analytical focuses. The document aims to outline the conceptual framework for understanding and analyzing different film genres.
Auteur theory
The document discusses auteur theory, which focuses on analyzing films based on the director's personal creative vision and stylistic choices rather than just the genre or studio production process. It originated in 1950s France as a way to elevate American and French films to an art form by highlighting the director's role. Key aspects of auteur theory include analyzing a director's technical competence, coherent personal style, and consistent worldview across multiple films. The document provides several examples of iconic directors and their recognizable stylistic traits, such as John Ford's use of landscape and Alfred Hitchcock's shot patterns. It also notes some critiques of auteur theory, such as its minimization of collaborative filmmaking.
Media Theory
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
1b) Genre
Genres are categories of creative works based on common elements. They allow analysis of texts and audience responses. Genres have recognizable codes and conventions like costumes, locations, sounds, and narratives. Subgenres have more specific categories. Genres are dynamic and evolve over time. Producers use familiar genre codes and conventions to meet audience expectations and sell products. Audiences recognize codes to choose genres that fulfill pleasures.
Genre lesson
Introduction to Genre
Brief history
Questions to ask comparing your own product
Theory -link to Ryall
Theory - Branston & Stafford
Glossary
Lesson 6 hitchcock as autuer master acronym
Alfred Hitchcock is considered a prime example of an auteur director. He had a long and prolific career spanning the silent era through the 1970s, creating a highly distinctive body of work focused on suspense and crime films. Hitchcock established signature directorial styles and motifs such as the use of confined spaces and manipulation of audiences. His films such as Vertigo exemplify mastery of cinematic techniques and complex narratives that have earned them canonical status.
The History.pptx
This document discusses film genres, defining genre as sets of patterns that transcend individual films and guide their construction and audience reception. Genres change over time and hybrids emerge. Genres are commonly categorized by setting, theme, mood or format. Producers and distributors use genre to minimize economic risk and promote films, while audiences use genre for pleasure and escapism, having expectations of typical conventions. Pleasure comes from recognizing genre conventions as well as their repetition with differences and innovations. Genre positions audiences and provides reading positions for ideal readers.
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Hollywood and US Media Histories
This document provides highlights from a course on film genres and ideologies in Hollywood news broadcasting. It discusses how genres are used to explore corporate appropriation of values and issues like media power and influence. Key films from the 1970s-1990s that are analyzed include Network, Broadcast News, and The Insider. The development of corporate media structures like NBC, CBS and ABC are reviewed from the 1920s onwards, showing how they evolved from early radio to television. Issues of rhetoric, hegemony and changing corporate identities are also examined.
KINOWORDS in South Africa
This document summarizes the highlights of the Film Programme at the Tshwane University of Technology (TUT) in South Africa from 2009 to 2014. It describes the founding of the film school, daily operations, student projects, community engagement activities, graduations, international collaborations, and achievements like securing membership in the International Liaison of Film Schools. It also includes positive student feedback about the teaching of Dr. Alan Taylor during his time as a professor in the Film Programme from 2009 to 2014.
CILECT Candidate, South Africa
Presentation to the CILECT network of global film schools, 2012 Congress, 2012. By Professor Alan Taylor, representing Candidate Institution, the Film Program, former Pretoria Film School, Tshwane University of Technology.
Film Theory and Practice: Foucault
A Case Study from South Africa on the teaching of Film Theory via practice-based research. Presented to the CILECT African Regional Association Conference, "New trends in research, teaching and practice in motion picture production" Cape Town, 2012. By Alan Taylor and Gregory du Tertre.
Media Literacies, Africa
As delivered at Inaugural Film and Media Conference, July 12th 2011. Institute of Education, University of London
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Hollywood Basics
- 1. KINOWORDS presents HOLLYWOOD SNOOPS Exploring Certain Investigative Tendencies in the Cinema of Orson Welles, Alfred Hitchcock, Samuel Fuller and Errol Morris By Alan Taylor, Berlin
- 2. HOLLYWOOD SNOOPS Course Leader. Alan Taylor The John F. Kennedy Institute of North American Studies The Freie University of Berlin Fall/Winter 08-09
- 6. The Classic Narrative Paradigm ACT 1 ACT 2 ACT 3 ORDER CHAOS ORDER / 2 HOOK 30 min 60 min 90min 120 min The inciting incident
- 24. HISTORICAL CYCLE Model One Growth Development Decay Model Two Experimental Classic Elaboration Self-Referential
- 27. Sequence Analysis - Genre THE SEARCHERS 1955 Similarities & Differences Iconographic Elements Action THE WILD BUNCH 1969 FISTFUL DOLLARS 1964 RIDE THE HIGH COUNTRY 1961 THE MAN FROM UTAH THE WESTERN
- 29. GROUP DISCUSSION q & a
- 30. NEXT UP: STRUCTURALISM [email_address] Berlin, November, 2008