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Film studies

Film studies. 1A: Hollywood (1930-1990). Classical Hollywood (1930-1960): Casablanca (Michael Curtiz , 1942) New Hollywood (1960-1990): Blade Runner (Ridley Scott, 1982) Auteur Context. 1A: Hollywood (1930-1990).

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Film studies

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  1. Film studies

  2. 1A: Hollywood (1930-1990) • Classical Hollywood (1930-1960):Casablanca (Michael Curtiz, 1942) • New Hollywood (1960-1990):Blade Runner (Ridley Scott, 1982) • Auteur • Context

  3. 1A: Hollywood (1930-1990) https://www7.putlockers.movie/11712-watch-casablanca-1942-online-free-putlocker.html Classical Hollywood (1930-1960):Casablanca (Michael Curtiz, 1942)

  4. 1A: Hollywood (1930-1990) Important characters:Casablanca (Michael Curtiz, 1942) Victor Laszlo Ilsa Rick Captain Louis Renault

  5. 1A: Hollywood (1930-1990) https://www7.putlockers.movie/3455-watch-blade-runner-1982-online-free-putlocker.html New Hollywood (1960-1990):Blade Runner (Ridley Scott, 1982)

  6. 1A: Hollywood (1930-1990) Important CharactersBlade Runner (Ridley Scott, 1982)

  7. 1A: Hollywood (1930-1990)

  8. 1A: Hollywood (1930-1990)

  9. 1A: Hollywood (1930-1990)

  10. 1A: Hollywood (1930-1990) Comparative study

  11. 1A: Hollywood (1930-1990) Example Questions: • Compare how far your chosen films reflect the auteur signature features of their filmmakers. • Compare how far your chosen films reflect their different production contexts. • “The Hollywood machine has always crushed any individuality in filmmaking”. Compare the extent the films you have studied display auteur individuality. • Compare how representations of gender in your chosen films reflect the times they were made. Refer in detail to at least one sequence from each film. • ‘Classical Hollywood represents the high point of American cinema’. Explore this assertion with close reference to the films you have studied. • Hollywood directors from the 1960’s onwards had to re-invent American cinema from the classical period of Hollywood. How do the films you have studied reflect the forces that shaped Hollywood style and form? • It is very difficult for the auteur director to thrive in a studio system. Discuss. • What evidence is there for ‘Camera Style’ (authorial signature) in the films you have studied? • How might we recognise social/political concerns in the mise-en-scene in the films you have studied?

  12. 1B: American Film • Independent Cinema:Frances Ha (Noah Baumbach, 2013) • Mainstream Cinema:La La Land (Damien Chazelle, 2016) • Spectatorship • Ideology

  13. 1B: American Film Independent Cinema:Frances Ha (Noah Baumbach, 2013)

  14. 1B: American Film Mainstream Cinema:La La Land (Damien Chazelle, 2016)

  15. 1B: American Film Spectatorship https://siantaylorfilmworthingcol.wordpress.com/2018/10/04/la-la-land-spectatorship-essay/ https://siantaylorfilmworthingcol.wordpress.com/2018/03/27/american-independent-film-and-spectatorship-frances-ha-2013/

  16. 1B: American Film Ideology

  17. 1B: American Film Example Questions: • How far do your chosen films demonstrate a constant shift between passive and active spectatorship? Refer in detail to at least one sequence from each film. • How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence from each film. • How valuable has ideological analysis been in developing your understanding of the themes of your chosen films? • How useful is an ideological critical approach in examining the impact of the films you have studied on the spectator? • How does film language align the spectator with specific characters in the films you have studied? • Account for the difference in positioning and alignment in the films you have studied. • Why might different viewers respond differently to the films you have studied? • To what extent does the viewer need ideological consciousness to engage with the films you have studied? • To what extend do the films you have studied engage with the political/philosophical concerns of the early 21st Century.

  18. 1C: British Film (Since 2005) • Moon (Duncan Jones, 2009) • Under the Skin (Jonathan Glazer, 2013) • Narrative • Ideology

  19. 1C: British Film (Since 2005) https://www7.putlockers.movie/5128-watch-moon-2009-online-free-putlocker.html Moon (Duncan Jones, 2009)

  20. 1C: British Film (Since 2005) https://www7.putlockers.movie/5951-watch-under-the-skin-2013-online-free-putlocker.html Under the Skin (Jonathan Glazer, 2013)

  21. 1C: British Film (Since 2005) Narrative • Narrative is not the story, it is the order and positioning of the way the story unfolds. • i.e.-linear, non linear, chronological,-the use of enigmas (mystery),-two narrative dilemma, action movies resolve dilemmas through action etc.-Compare beginning and end of narrative to identify messages and ideology. Expositional introduction, to let audience know where to stand. • How narrative construction reflects plot and expresses temporal duration and ellipsis • Narrational Devices including voiceover, flashback, the framing narrative, the open ending, repetition and other forms of narrative patterning • Narrative conventions of mainstream screenwriting, including the construction of dialogue, character and the use of images and sound to convey narrative. • How the dramatic qualities of a sequence or scene are constructed, including through dialogue • How narrative construction provides psychological insight into a character. • Film poetics: what elements of film filmmakers select and how they combine them to create understanding.

  22. 1C: British Film (Since 2005) Narrative

  23. 1C: British Film (Since 2005) Ideology

  24. 1C: British Film (Since 2005) Example Questions: • How useful has an ideological critical approach been in understanding the narrative resolution of your chosen films? • How useful has an ideological critical approach been in understanding binary oppositions in the narratives of your chosen films? • Explore how the narratives of the films you have studied influence your response to key characters. • With close reference to the opening sequences of the films you have studied, analyse how mise-en-scène is used to establish important ideas and themes. • How important is genre to an ideological reading of the films you have studied? • To what extent does narrative structure guide a specific ideological reading in the films you have studied? • Discuss the application of specific narrative devices in making meaning and exploring themes in the films you have studied. • ‘A comparison of the opening and closing sequences of a film reveal it’s ideological messages’: to what extent is this true of the films you have studied? • How does mise en scene generate meanings in the films you have studied?

  25. 2A: Global Film • SpainPans Labyrinth (Guillermo Del Toro, 2006) • China & Hong KongHouse of Flying Daggers (Zhang Yimou, 2004) • Core Study Areas Only file:///Users/pos/Downloads/global-filmmaking-perspectives-film-movements-teacher-resource.pdf file:///Users/pos/Downloads/global-filmmaking-perspectives-film-movements-student-resource.pdf file:///Users/pos/Downloads/pans-labyrinth%20guide.pdf file:///Users/pos/Downloads/house-of-flying-daggers%20guide.pdf

  26. Core Study Areas Only Film Form 2A: Global Film Pans Labyrinth (Guillermo Del Toro, 2006)

  27. Core Study Areas Only Film Form 2A: Global Film House of Flying Daggers (Zhang Yimou, 2004)

  28. Core Study Areas Only Representation 2A: Global Film Pans Labyrinth (Guillermo Del Toro, 2006)

  29. Core Study Areas Only Representation 2A: Global Film House of Flying Daggers (Zhang Yimou, 2004) • In Peking Opera all roles originally played by men. Strong female characters central to the tradition of wuxia. They fight with swords and take part in combat. In the Flying Daggers the leaders are now women. Mei demonstrates female sexual power. • Representation of China. Zhang Yimou has called cinema “an excellent channel for promoting China’s culture” with “cultural and historical information” for Western audiences. However he has been accused of “selling Oriental exoticism” and received criticism that his version of China “feeds his Western audience’s image of exotic, primitive, timeless China”. • Male and female passion is subject to tradition and duty. Male characters are “Just pawns on the chessboard”. The concluding fight to the death between Leo and Jin is about honour as well as jealousy.

  30. Core Study Areas Only Context 2A: Global Film Pans Labyrinth (Guillermo Del Toro, 2006)

  31. Core Study Areas Only Context 2A: Global Film House of Flying Daggers (Zhang Yimou, 2004)

  32. 2A: Global Film Aesthetics (i.e. the ‘look and feel’ of the film including visual style, influences, auteur, motifs) • The film is a magical realist text – combining beautifully constructed but very dark fantasy sequences, some verging on horror, with a graphically violent rendering of factional fighting in Northern Spain in the early years of Franco’s dictatorship. • Del Toro has referred to this film as a very lose sequel to an earlier feature horror, The Devil’s Backbone – itself set in the aftermath of the Spanish Civil War. • In Pan’s Labyrinth, as we have already seen, Franco’s army unit is represented as a brutalising force of occupation and its commanding officer, Captain Vidal, as a sadistic epitome of evil: cruel to everyone including his wife and step-daughter. His evident pleasure in torture is straight out of a psycho-horror film. The ruling elite who attend a banquet given by him are equally venal and corrupt and Del Toro clearly has little empathy for the priest and the organised Catholicism he represents. 4 A Level Film Studies - Focus Film Factsheet In contrast however we find the guerrillas and their supporters, such as Mercedes and the Doctor, are presented as honourable and caring people. Del Toro makes it very clear with whom we are positioned to side. Indeed the narrative triumph of liberalism over fascism is literal as the movie ends with the Captain’s execution by the victorious rebels and Ofelia’s imaginative or real resurrection in the Underworld. • Another motif, aside from the Gothic and gore discussed above is paganism. The moss-covered ruins of the Labyrinth and associated standing stones, and the tree beneath which Ofelia finds the toad and from which blooms her own resurrection (see above – endings) all suggest a sophisticated and elemental pagan past now acting as rare portals to the fairy kingdom. Aesthetics (i.e. the ‘look and feel’ of the film including visual style, influences, auteur, motifs) • Mandarin title of the film translates as ‘Ambushed from Ten Directions’. Motif of multiple deceptions, false identities, nothing is as it first appears: Leo appears to be an imperial soldier but is really a mole, the former lover of Mei; Mei a rebel pretending to be a courtesan, pretending to be blind; Nia appears to be the madam of the Peony Pavilion, then the leader of the Flying Daggers, then only pretending to be the leader; Jin is an Imperial soldier who pretends to be a rebel. • Wuxia pian: Wu=martial + xia = chivalrous. Origins of the Wuxia pian genre are to be found in North Chinese Mandarin culture after the 9th century. Rival warlords ruled China and unattached swordsmen could be hired as killers, heroes who followed codes of honour and chivalry defending the helpless against corrupt leaders and officials. Swords, magic, fantasy and the supernatural are central to wuxia mythology. Today this is a highly popular fiction in Mainland China, Taiwan, Hong Kong and Singapore. • The director, Zhang Yimou is a household name in China, responsible not only for films but for the opening ceremony of the Beijing Olympics of 2008, also for huge open air spectacles such as the Impression Lie Sanji Show held on the banks of the Li River featuring more than 600 amateur performers. A graduate of the Beijing Film Academy, one of the so called ‘5th generation filmmakers’ he began as a cinematographer and moved on to directing films about Chinese life, particularly that of women. House of Flying Daggers is his second action film. Aesthetics

  33. 2A: Global Film Example Questions: • With close reference to the two films you have studied, explore how either performance or mise-en-scène create meaning. • With close reference to the two films you have studied, explore how either editing or sound create meaning. • Discuss some of the ways in which mise-en-scène and editing are used in each of your chosen films to present a key issue. Refer in detail to specific sequences. • To what extent do aesthetic qualities contribute to the impact of your two chosen films? Refer in detail to specific sequences. • Explore the aesthetic experience for the viewer in the films you have studied. • To what extent do the films you have studied reflect their social/political contexts? • How important is an awareness of production contexts to an appreciation of the films you have studied? • With close reference to the two films you have studied, explore how cinematography creates meaning. • Explore the representation of gender in the films you have studied.

  34. 2B: Documentary Film • Amy (Asif Kapadia, 2016) • Critical Debates • Filmmakers theories file:///Users/pos/Downloads/Documentary%20Resource%203%20-%20Filmmakers%20theories.pdf file:///Users/pos/Downloads/documenatry-resource4_amy-case-study%20(2).pdf file:///Users/pos/Downloads/Documentary%20Resource%202%20-%20Digital%20debates%20in%20documentary.pdf

  35. 2B: Documentary Film Amy (Asif Kapadia, 2016)

  36. 2B: Documentary Film Critical Debates - The significance of digital technology in film - In Kapadia’s film there is very little actual original footage shot. This seems to largely consist of captioned establishing shots of London – either with a helicopter or a drone. These few shots are very clearly digital and offer a brief counterpoint to the rest of the film’s style. - Amy is clearly the work of a number of film-makers and Kapadia’s skill as a filmmaker is really seen in the editing room. He has amassed a great deal of archive footage from media sources and placed these alongside more personal filmic insights into Winehouse’s life. - The combination of both analogue and some early digital recordings of Amy Winehouse from her friends and in some cases her family do offer a revealing perspective on her childhood, adolescence and the early part of her career. - Where interesting debates may be developed is on the more controversial aspects of her life – her bulimia, her addictions and her ill-fated relationship with Blake FielderCivil. This may well focus on the selection and use of particular footage. - Interestingly we also only hear the interviewees and never see them. Kapadia would have spoken to these people and recorded their thoughts digitally and then used them to underscore his images. - The manipulation and crucially the montage effect of the using the footage alongside the interviews is what give the film its power. - What it also exposes is the way that even before Winehouse became famous, her existence was being documented. The key debates here are to do with Kapadia’s focus in telling the story that he wanted to tell. Might have he done this differently? How would this have changed the emphasis of the film?

  37. 2B: Documentary Film Critical Debates - The significance of digital technology in film

  38. 2B: Documentary Film Filmmakers Theories – Bill Nichols six modes of Documentary These were distinct cinematic modes which utilise a range of different filmic techniques. These modes help define the shape and feel of the documentary film and do serve to distinguish different types of documentary from each other.

  39. 2B: Documentary Film Kim Longinotto Longinotto has said 'I don’t think of films as documents or records of things. I try to make them as like the experience of watching a fiction film as possible, though, of course, nothing is ever set up.' Her work is about finding characters that the audience will identify with – 'you can make this jump into someone else’s experience'. Unlike Moore and Broomfield, Longinotto is invisible, with very little use of voice-over, formal interviews, captions or incidental music. As the 'eyes' of her audience, she doesn’t like to zoom or pan. She says she doesn’t want her films to have conclusions but to raise questions. Filmmakers theories

  40. 2B: Documentary Film Michael Moore Moore, is a very visible presence in his documentaries, which can thus be described as participatory and performative. His work is highly committed – overtly polemical in taking up a clear point of view, what might be called agit-prop documentary. He justifies his practice in terms of providing ‘balance’ for mainstream media that, in his view, provides false information. Part of Moore’s approach is to use humour, sometimes to lampoon the subject of his work and sometimes to recognise that documentaries need to entertain and hold an audience. Filmmakers theories

  41. 2B: Documentary Film Example Questions: • Apply one filmmaker's theory of documentary film you have studied to your chosen documentary. How far does this increase your understanding of the film? • 'Portable, digital cameras, digital sound recording equipment and non-linear digital editing have had a very significant impact on documentary film.' How far has digital technology had an impact on your chosen documentary film? • To what extent can it be said that your chosen documentary is shaped by the filmmaker's approach? Refer to at least one filmmaker's theory you have studied. • ‘The significance of digital technology is overrated in contemporary filmmaking.’ To what extent do you agree or disagree with this statement in relation to your chosen documentary? • To what extent does the documentary you have studied explore an established subject in a new or innovative way? • How important is knowledge of documentary makers’ theories to an appreciation of the documentary you have studied? • How significant is the usage of digital video or photochemical film stock to the documentary you have studied? • Explore the importance of the means by which content has been produced in the documentary you have studied? • ‘Documentary makers can either try to eliminate their presence from the documentaries they make or foreground their involvement in order to truthfully present their subject’. Discuss.

  42. 2C: Silent Cinema • Strike (Sergei Eisenstein, 1925) • Critical Debates

  43. 2C: Silent Cinema Strike (Sergei Eisenstein, 1925)

  44. 2C: Silent Cinema Critical Debates

  45. 2C: Silent Cinema Soviet Montage

  46. 2C: Silent Cinema Example Questions: • Discuss how far your chosen film or films reflect aesthetic qualities associated with a particular film movement. • Discuss how far your chosen film or films reflect cultural contexts associated with a particular film movement. • To what extent can it be said that your chosen film movement represents an expressionist as opposed to a realist approach to filmmaking? Make detailed reference to examples from the silent film or films you have studied. • ‘Films without recorded speech can succeed brilliantly in communicating ideas and emotions.’ How true is this statement in relation to the silent film or films you have studied? • What is the point in studying old black and white films made with outmoded technology and style? • To what extent do the limitations of silent film restrict the engagement of the viewer in the film you have studied? • How relevant are specific cinematographic techniques to the film you have studied? • To what extent does editing shape the meaning making in the film you have studied? • Explore the idea of expressionism with close reference to the film you have studied. • To what extent is the illusion of reality relevant to an appreciation of the film you have studied?

  47. 2D: Experimental Cinema • Fallen Angels (Wong Kar-Wai, 1995) • Narrative • Alternative forms of Narrative • Auteur

  48. 2D: Experimental Cinema Fallen Angels (Wong Kar-Wai, 1995)

  49. 2D: Experimental Cinema Narrative Different narrators, shift in protagonist Non-linear structure, scene at beginning used at the end Woman cleaning up the house,

  50. 2D: Experimental Cinema Alternative forms of Narrative Much of this has been covered in the sections on aesthetics and film form in terms of the auteur status of Wong Kai Wai and the importance of viewing this film alongside Chungking Express in particular. The close working relationship between Christopher Doyle and Wong Kai Wai is also vital to understanding how the signature aesthetic is created in their collaborations. The narrative style here is interesting because once again it has parallels with Chungking Express. The way that the two strands are in opposition to each other and conversing make connections is certainly worth reflecting upon and this may well only become more apparent after another viewing of the film. Certainly it might be worth trying to represent the relationships and the temporal nature of the plot diametrically to get a sense of overlap and implicit and explicit linkage.

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