sp 472 american film history ii, week 11

8/9/2019 SP 472 American Film History II, Week 11

1/28

Writing What is the writers

contribution?

Can you name ascreenwriter?

How many writerswork on a film?

How much is thedirector and howmuch is the writer?


2/28

Writing

Written by Joe Eszterhas


3/28

Writing

Written by Charles

Brackett & Billy Wilder


4/28

Writing Reading a

screenplay - what is

there and what ismissing?


5/28

Writing Classical Paradigm

Dominant narrative structurein American Film

Protagonist - initiates action

Antagonist - resists action

Dramatic question -

How does the protagonist

get what he/she wants Conflict/opposition

Patterns of action - cause &effect until climax andresolution

Casablanca


6/28

Writing Non-verbal orfigurative techniques

Motifs

Symbols

Metaphors

The Shining&

Diane Arbus Twins


7/28

Writing Motifs

Integrated within the

realistic texture of afilm

Anything that is

systematically

repeated, yet does

not call attention to

itself - unduly


8/28

Writing Symbols

BeingThere


9/28

Writing Symbols

Planet of the Apes & Godzilla


10/28

Writing Metaphor

A comparison that

cannot literally be

true Two items that are

not normally together

- devoured be love

2001: A Space Odyssey


11/28

Writing Allegory

Avoidance of realism

Connection between

a character orsituation and a

symbolic idea or

complex ideas

The Seventh Seal


12/28

Writing Allegory

Avoidance of realism

Connection between

a character orsituation and a

symbolic idea or

complex ideas 8& 1/2


13/28

Writing Allusion Implied reference to

a well-know person,

event or work of art


14/28

Writing Allusion Implied reference to

a well-know person,

event or work of art


15/28

Writing Homage

Like a quote or

tribute to a colleagueor established

master

Battleship Potemkin


16/28

Writing Homage

Like a quote or

tribute to a colleagueor established

master

The Untouchables


17/28

Writing

Psycho & Halloween H20


18/28

Writing Point of View

First person narrator

Omniscient point of

view

Third person narrator

Objective point of

view


19/28

Writing First person narrator

Tells his/her own story

or an objectiveobserver

Can be reliable or not

Can be the camera

A Clockwork Orange


20/28

Writing Omniscient point of

view

Camera or narratoris an all-knowingobserver like in anovel

Every time the

camera is moved,you are given a newway to evaluate thescene


21/28

Writing Objective point of

view

Variation ofomniscient

Records events

impartially - ideally

suited to film

More realistic as

there is less

distortionThe Passenger


22/28

Writing Literary adaptations

Loose

Faithful Literal

Emma


23/28

Writing Loose

KingLearand Ran


24/28

Writing Faithful


25/28

Writing Literal - often

reserved for stage

plays

Proof- the film

and the play


26/28

Casablanca

1942

Dir. Michael Curtiz

Humphrey Bogart, IngridBergman, Paul Henreid &Claude Rains

Voted #2 film of all timeby the American FilmInstitute

Nominated for 7 Oscars -won 3 - Best Picture,Best Director & BestScreenplay


27/28

CasablancaMichael Curtiz 1886-1972

Hungarian who came to

Hollywood in 1926 and

became a staple in the

Studio System

Films includeCasablanca

The Adventures of Robin Hood

CaptainBloodMildredPierce

White Christmas

Yankee Doodle Dandy

Angels with Dirty Faces

KingCreole


28/28

Casablanca Here's looking at you,

kid" was voted as the #5movie quote by the

American Film Institute

"Louis, I think this is thebeginning of a beautiful

friendship." was voted as

#20

"Round up the usual

suspects." was voted as

#32

"We'll always have

Paris." was voted as #43

sp 472 american film history ii, week 11

Documents