chapter 11 film criticism

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By: Olivia Adamovich, Joaquin Puente, and Matt Kmiecik

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Page 1: Chapter 11 film criticism

By: Olivia Adamovich, Joaquin Puente, and Matt Kmiecik

Page 2: Chapter 11 film criticism

What do film critics do?

Describe

Analyze

Interpret

Evaluate

Page 3: Chapter 11 film criticism

His Girl Friday

Cause and effect chains

North by Northwest

Building suspense

Do The Right Thing

Setting and deviation

Page 4: Chapter 11 film criticism

Hitchcock made thrillers, not mystery films Suspense

Conventional patterns

Motifs

Restricted knowledge

Page 5: Chapter 11 film criticism

Search pattern

Journey pattern

Romance

http://www.youtube.com/watch?v=2KAjkS3RD9Y

Page 6: Chapter 11 film criticism

Rodger Thornhill is constantly in DANGER

Growing suspicion of Eve

http://www.youtube.com/watch?v=g458w2X9uHc

Page 7: Chapter 11 film criticism

Does Rodger Thornhill know…

less than every character?

the same as every character?

more than every character?

Point of View shots

Page 8: Chapter 11 film criticism
Page 9: Chapter 11 film criticism

Directed by Jean-Luc Godard

Contrasts norms of classical style narrative Clarity and Unity

Ambiguity of narrative

Page 10: Chapter 11 film criticism

Crucial action▪ Brief and Confusing

Jump Cuts

http://www.youtube.com/watch?v=1KUVwKp6MDI

Violation of continuity

Page 11: Chapter 11 film criticism

Elliptical Editing

Jump Cuts

Other alternative styles of narration

Avoidance of match on action

Violation of 180 degree rule

https://www.youtube.com/watch?v=ATqTWlxDuGY

Page 12: Chapter 11 film criticism

Web-of-Life plot▪ Many Characters

▪ Brought together by a single common event

Crash directed by Paul Haggis▪ Different stories

▪ Paths cross

https://www.youtube.com/watch?v=dEQ_ftkpb18

Page 13: Chapter 11 film criticism

Man with a Movie Camera (1929)Directed by Dziga Vertov

Normally technique of editing but in this film is the filmmakers power to control our perception by editing and special effects Double exposure effect

Pixilation

“Kino eye”- Russian for cinema

Important genre of documentaries in the 1920’s called the city symphony

Travelogue

Candid scenes (sometimes staged)

Explicit and implicit meanings

Missed by people who do not read Russian

Page 14: Chapter 11 film criticism

Explicit- to praise and criticize parts of the Soviet society after the revolution

Has machines and human labor - push towards industrialization

Crosscutting – leisure and hard work

Implicit – argument for Vertov’s approach to film making

Opposed narrative form and professional actors so that techniques of camera and editing use would have an effect on the audience, but wanted to control the mise-en-scene

Wanted viewers to see a product of specific labor

Same shots in different context – difficult film

Thin Blue LineDirected by Errol Morris

Narrative form of documentary

Shapes our attitude toward the character by the play of narration and knowledge

Page 15: Chapter 11 film criticism

Takes us through step by step of the criminal case with details and stories events

Denies viewers scenes for determining what happened the night of the murder so you can concentrate on the details given

They want us to be jurors and decide what the final decision should be The play with narration shapes our attitudes toward the characters

who we want to like and who we dislike

Page 16: Chapter 11 film criticism

Understanding ideology involves analyzing for and style to create meaning

Chapter 2 types: Explicit

Implicit

Symptomatic

Referential

Page 17: Chapter 11 film criticism

Meet me in St. Louisby Vincente Minnelli

Musical with family and future creates ideological framework to have meaning and impact

Motifs stress the family's comfortable life

Light, eating, and singing can be seen as reassuring to the viewer

American ideology Family and future to gain meaning and impact

Doesn't change peoples way of thinking, but reinforces aspects of dominant social ideology

American values of how at home life is supposed to be

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Raging Bull By Martin Scorsese

Is violent, but no one dies

Other then murders, this film draws conventions of cinematic realism to make it disturbing and violent

The use of narrative and style help the ideology of the “American life”

Plot structure of rise-and-fall