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Movie Lessons

Movie Lessons. Lists Used for Rankings. American Film Institute: AFI Determined by 1,500 leaders of the industry Time Magazine All-Time 100 Movies Two film critics’ opinions, not ranked though Entertainment Weekly’s 100 Greatest Movies of All Time Written by Ty Burr in 1999

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Movie Lessons

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  1. Movie Lessons

  2. Lists Used for Rankings • American Film Institute: AFI • Determined by 1,500 leaders of the industry • Time Magazine All-Time 100 Movies • Two film critics’ opinions, not ranked though • Entertainment Weekly’s 100 Greatest Movies of All Time • Written by Ty Burr in 1999 • They Shoot Pictures, Don’t They: TSPDT • Based on 1,320 critics’ and filmmakers top-10 lists • Also factors in over 300 magazine polls, film institute polls, and many others of interest • Internet Database or IMDb.com: • Based entirely on popularity with the fans • Fans rate films online and it gets averaged

  3. I. Analyzing Film • To analyze, we must be totally immersed in the experience of the film, but also keep a high level of objectivity and critical detachment. • A. Film is a collaborative effort. • B. We must let go of our prejudices and misconceptions. • Don’t dismiss certain genres. • Be willing to venture outside the norm. • Be flexible on what a movie is supposed to be. • Don’t be too rigid when setting up criteria for a good film. • Don’t over-respond to individual elements or certain ones pertaining to the film. • Ex. I love all Harrison Ford movies. Sex and Violence • Don’t expect too much from a film. • Ebert, “It’s not what the move is about that makes it good or bad, but how it is about it.” • C. What is the proper environment to view films? • Consider keeping a movie journal.

  4. II. Theme • What is the unifying central idea of the film? • A. Focus on Plot • Action and adventure films focus on what happens (Gladiator, Spider Man, and Star Wars) • B. Focus on Emotional Effect or Mood • Create feelings for the viewer. • Horror, Drama, Comedy, and Romance (The Shining, Shawshank Redemption, Borat, and The Notebook) • C. Focus on Character • Developing the main figures of the film. (Ray, Raging Bull, and Walk the Line) • D. Focus on Style, Texture, or Structure • Films that go for a unique look, feel, rhythm, atmosphere, tone, or organization. (Pulp Fiction, Raising Arizona, Fargo, Natural Born Killers)

  5. II. Theme cont. • E. Focus on Ideas • Films that clarify some aspect of life, experience, or the human condition. • 1. Moral Implications (Crash) • 2. The Truth of Human Nature (Groundhog Day, Shane, Deliverance) • 3. Social Problems (Do the Right Thing) • 4. The Struggle of Human Dignity ( On the Waterfront, Schindler’s List, Rocky) • 5. The Complexity of Human Relationships (When Harry Met Sally, Brokeback Mountain) • 6. Coming of Age/Loss of Innocence/Growing Awareness (Almost Famous, Finding Nemo, Sixteen Candles) • 7. A Moral or Philosophical Riddle (Fight Club and Being John Malkovich) • Some Films have more than one theme • Some contain less important points of emphasis: motifs. • Is the Theme universal?

  6. Citizen Kane, 1941 • Written, produced, and directed by Orson Welles (age 26) • Also starring Welles • His 1st feature film • War of the Worlds radio broadcast • Portrayed Charles Foster Kane with flashbacks and narration • Loosely based on William Randolph Hearst • The movie is shown in fragmented scenes of Kane’s life • Like a puzzle, trying to figure out Kane • What or Who was “rosebud?” • Innovations in the film • Most of the film was made in deep focus. • Everything in the scenes is in focus • Use of low-angle shots

  7. Citizen Kane, 1941 • The film was not a box office hit. • Hearst tried to stop its release. • Some claim he had Welles blacklisted from Hollywood • Nominated for 9 Oscars, it only won one for Best Screenplay. • #1 film on AFI’s 100 Greatest Movies list in 1997 and 2007. • “Rosebud” was the #17 on AFI’s 100 Movies…100 Quotes list. • Orson Welles was named the #16 Greatest Film Legend by AFI. • TSPDT List: #1 • EW List: #2 • Time Magazine Top 100 Film • IMDb.com List: #24

  8. Citizen Kane Response Questions • 1. What is the theme or themes of the film? • 2. Did you enjoy the film? Why or why not? • 3. Do you think this is a great movie? Why or why not? • 4. Should this be rated #1 all time? Why or why not? • Welles in later life

  9. III. Fictional and Dramatic Elements • A. The Elements of a Good Story • It has a unified plot • The story is credible • Externally Observable Truths: It shows the way things really are. • Internal Truths of Human Nature: It shows the way things are supposed to be. • Artistic Semblance of Truth: The way things never were and never will be. • B. A Good Story is Interesting • Suspense and Action • C. A Good Story is Both Simple and Complex • D. A Good Story Handles Emotional Material with Restraint

  10. III. Fictional and Dramatic Elements cont. • E. The Significance of the Title • F. Dramatic Structure • Linear, or Chronological Structure • Exposition, complication, climax, and resolvement (denouement) • Nonlinear Structure • In medias res, flashbacks, and flash forwards • Endings: Fine-Tuning the Denouement • G. Conflict • External or internal • H. Characterization • Static or Dynamic Characters • I. Allegory • J. Symbolism • K. Irony

  11. IV. Analyzing Visual Design • A. On Color Versus Black and White • How does it affect the mood? Is it the correct choice for the story? The Wizard of Oz vs. Schindler’s List • Are there any special color effects used to achieve a unique look? Minority Report • Smooth or rough-grain film stock • B. On Screen Format (Aspect Ratio) • Was the film originally shot for standard screens or widescreen? • Standard, widescreen, Cinemascope, and Panavision • Would the film be the same in the other aspect ratio?

  12. IV. Analyzing Visual Design cont. • C. On Production Design/Art Direction • How important is the set or location? • Was the film made mainly on a set or on location? • Do the settings enhance or underscore the film? • Is the setting too powerful? (The Last Samurai) • Is the setting convincing enough for a period piece, a fantasy, or a science fiction? • Could this story take place somewhere else? • Why did the filmmaker choose one particular location? • Is the setting symbolic? • D. On Costume and Makeup Design • Do these help actors get into character? • Does makeup enhance the natural appearance or significantly transform it? • E. On Lighting • Is the lighting (1) direct, harsh, and hard; (2) medium and balanced; (3) soft and diffused? • Does the lighting seem natural or artificial? • Does the lighting contribute to the overall emotional attitude or tone of a film?

  13. V. Cinematography and Special Visual Effects • A. The Importance of the Visual Image • Visual elements are the primary and most powerful means of communication • B. The Cinematic Film • 1. Is the film cinematic? • Keep the image alive and in motion • Sets up clear, crisp, and aural rhythms • Gives an illusion of depth • Uses other special properties of the medium • 2. Does the cinematography create clear, power, and effective images? • C. Cinematic Points of View • 1. Objective: camera as a sideline observer • 2. Subjective: camera as a participant in the action (direct involvement of the audience) • 3. Indirect-subjective: not a participant’s point of view, but it’s really close to the action • 4. Director’s interpretive: viewers are consciously aware of the director’s desire to show action in an unusual way

  14. V. Cinematography and Special Visual Effects cont. • D. Elements of Cinematic Composition • 1. Draw attention to central objects • Size, closeness, sharpness, movement, and camera angles • Close-ups, arrangements, framing, lighting, and color • 2. Keep images in motion • Fixed-frame movement, panning and tilting, zoom lens, rack focus, deep focus, three-dimensional arrangement of people/objects, foreground framing, special lighting, and the use of reflections

  15. V. Cinematography and Special Visual Effects cont. • E. Specialized Cinematic Techniques • 1. Handheld Camera • 2. Camera Angles • 3. Color, Diffusion, and Soft focus • 4. Special Lenses • 5. Fast and Slow Motion • 6. Special Lighting Effects • F. Movie Magic: Special Visual Effects in the Modern Film • 1. Matte and glass shots from old movies • 2. Blue-screen process • 3. Computer-generated imaging (CGI) • 4. Stop-motion animation • G. The F/X of Animated Feature Films • 1. From hand drawn frames to computer animation

  16. VI. Editing • “The film is not shot, but built…” (Boggs and Petrie, 2008). • Editing guides our thoughts, associations, and emotional responses from one image to another. • Editing should be smooth, natural, and unobtrusive. Sometimes it is tricky or self-conscious. • Transitions: Wipe, Flip Frame, Fade-Out/ Fade-In, or Dissolve • Most film editors no longer use these. • Form Cut: the shape of an object is matched to a similarly shaped object in the next scene. • Time Control: jump cut, parallel cuts (show two scenes of action back and forth), slow motion, • Freeze frame (Butch Cassidy), Thawed Frame, and Stills (pictures shot with camera movement). • Editing cutting and transitions set the pace of the film. • Creative Juxtaposition: Montage • Ironic Montages (The Godfather) • Mise-en-scene: emphasizes the content from a single frame, opposite of a montage

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