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KINOWORDS presents

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. HOLLYWOOD SNOOPS Course Leader. Alan Taylor. The John F. Kennedy Institute of

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KINOWORDS presents

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  1. KINOWORDSpresents 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 SNOOPSCourse Leader. Alan Taylor The John F. Kennedy Institute of North American Studies The Freie University of Berlin Fall/Winter 08-09

  3. Introduction Overview • A script reading • Storyboards interpretation • Shared analysis • Principles of mise-en-scene AT kinowords@hotmail.com

  4. Narrative Terms – A Sample • Antagonist • Catharsis • Causal Relationship • Character • Climax • Complication • Conflict • Crisis • Dénouement • Dialogue • Epiphany • Exposition • Foreshadow • Genre • Hero & Hubris • Irony • Point of View • Plot • Protagonist • Reversal • Story • Subplot • Subtext • Suspense • Theme AT kinowords@hotmail.com

  5. Technical Terms – A Sample • Angle • Blocking • Close up • Colour codes • Composition • Continuity system • Cross-cutting • Expressive space • Eye line matching • Frame • Impact editing • Long shot • Medium shot • Mise en scene • Montage • Point of view shot • Shot-reverse shot • Three-point lighting • Tracking shot • Voice over • Zoom AT kinowords@hotmail.com

  6. The Classic Narrative Paradigm ACT 1 ACT 2 ACT 3 ORDER CHAOS ORDER / 2 The inciting incident HOOK 30 min 60 min 90min 120 min AT kinowords@hotmail.com

  7. EARLY DAYS 1912 - 1919 “…they came pouring in, mostly illegible scrawls, written on everything from postcards to butcher paper…One in five hundred was acceptable…” B.P. Schulberg, AT kinowords@hotmail.com

  8. Opening Rules “…must have situations plainly visible…a clearly defined story…the complications should start immediately and the developments come with the proper regard to sequence…too many notes and subtleties interrupt the story and detract from the interest…let your stories, though they both strong in plot… be convincing, the situations not merely possible but probable…” AT kinowords@hotmail.com

  9. From Silents to the Talkies ( 2 ) • The Director Unit System 09 – 1914 (Chaplin, Griffith, Keaton) • 2. Central Producer System, 1914 (Thomas Ince) • Division of Labour – 1920s • Sound 1928 • Standardisation of practices • Classic Narrative and Style, 1930s-1940s (see Bordwell, 1985) AT kinowords@hotmail.com

  10. THE STUDIO SYSTEM PRINCIPLES OF CONTINUITY • EDITING, from COVERAGE to SHOTS • EYE-LINE MATCHING • 180 degree RULE • CAMERA ANGLES - DRAMATICALLY JUSTIFIED/GENRE CODES AT kinowords@hotmail.com

  11. STANDARDISATION “…filmmaking is governed by the division of labor (specialization), by a product measured against its economic success (commercialization) and by a calculable production (standardization). As the length of motion pictures increased in the 1920s, the screenplay came to occupy a key position in production…” Claudia Sternberg, p. 7 AT kinowords@hotmail.com

  12. TAYLORISM….(honest!) • Scientific Principles of Management • Maximising Work flow, time & motion • Mass Production – Assembly Line • Car Industry, Ford • Isolated work functions • Efficiency, Predictability, Measurability • Control AT kinowords@hotmail.com

  13. Control on the Studio Floor • Division of Labour & managerial oversight via the continuity sheet • Standardised agreements across studios • Emergence of trade unions • Genre-based stories • Manufactured & contracted star system • Block booking distribution • The ‘Academy’ & The Oscars AT kinowords@hotmail.com

  14. The Auteur Theory • A personal style • A meaningful coherence • Stylistic consistency • An increasingly maturevision AT kinowords@hotmail.com

  15. MISE EN SCENE • A personal style in and around genre conventions • A gap between stated scene narrative and stylistic emphasis of camera 3. The manipulation of scenic elements 4. Lighting, camera, lens, movement, pace 5. Imagery, colour, framing, composition 6. Blocking, performance, dramatic weight AT kinowords@hotmail.com

  16. THEMES • A line of recurring motifs, tensions, ideas • Relationships across characters • Subtextual features in the narrative • A maturing of thematic understanding & exploration AT kinowords@hotmail.com

  17. ARTISTIC VISION The conscious and unconscious development of an artist, exploring and deepening given personal themes made meaningful to an audience over time. AT kinowords@hotmail.com

  18. CONSEQUENCES RE- APPRAISAL OF STUDIO DIRECTORS & GENRES ie: Howard Hawks 1896 -1977 Bringing Up Baby, 1938 Screwball Comedy Gentlemen Prefer Blondes, 1953 Musical Red River, 1948 Western Land of the Pharoes, 1955 Biblical Epic AT kinowords@hotmail.com

  19. Or...HITCHCOCK • 52 films • Personal vision within given genres • Self-defined auteur • Director and producer • Consistent collaborators • Developmental motifs and themes AT kinowords@hotmail.com

  20. HITCHCOCKS DISAPPEARING WOMEN • THE LADY VANISHES (1938) She is there, she dis-appears, returns alive • REBECCA (1940) His wife lives, but dies. He (re) marries Rebecca AT kinowords@hotmail.com

  21. Hitchcock‘s Disappearing Women • VERTIGO (1958) She is there, she dies, returns, then dies again • PSYCHO (1961) She lives, she dies. Her sister returns • MARNIE (1964) She is dead inside and emerges into life AT kinowords@hotmail.com

  22. Auteur Theory – Problems • Filmmaking a collaborative process • Structuralist theory, the problem of meaning and the death of the author, (1970s – 1980s). 3. Genius....or repetition? 4. Meaning and value....in who‘s eyes? 5. Corporate appropriation by the industry for marketing AT kinowords@hotmail.com

  23. GENRE THEORY The Principle of Repetition and Difference in • narrative conventions • visual, aural codes AUDIENCE • pleasure and control • recognition PRODUCER • marketing and distribution • standardisation of output TEXT AT kinowords@hotmail.com

  24. HISTORICAL CYCLEModel OneGrowthDevelopmentDecay Model TwoExperimental Classic Elaboration Self-Referential AT kinowords@hotmail.com

  25. For the Writers/Directors/Producers “To anticipate the anticipations of your audience you must master your genre and its conventions….” Robert McGee, STORY AT kinowords@hotmail.com

  26. COMPARATIVE SEQUENCE ANALYSIS 1933 - The Man From Utah 1952 - Shane.. Stevens 1955 - The Searchers.....Ford 1961 - Ride the High Country...Peckinpah 1964 - Fistful of Dollars....Leone 1969 - The Wild Bunch.........Peckinpah AT kinowords@hotmail.com

  27. Sequence Analysis - Genre AT kinowords@hotmail.com

  28. The Artist and the Rules AUTEUR THEORY and GENRE We must be prepared to entertain the idea that auteurs grow, and that genre can help to crystallize preoccupations and contribute actively to development... Kitses 1969 AT kinowords@hotmail.com

  29. GROUP DISCUSSIONq & a

  30. NEXT UP: STRUCTURALISM a.taylor@balliol.oxon.org Berlin, November, 2008

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