Representing the Real: Documentary Films A Short History of Documentary Cinema A Prehistory of Documentaries Early Actualities, Scenics, and Topicals The s: Robert Flaherty and the Soviet Documentaries The Politics and Propaganda of Documentary ss: New Technologies and the Arrival of Television Present: Digital Cinema, Cable, and Reality TV The Elements of Documentary Films Nonfiction and Non-Narrative Expositions: Organizations That Show or DescribeFilm in Focus: nonfiction and non-narrative in man of Aran Rhetorical Positions The Significance of Documentary Films Revealing New or Ignored Realities Film in Focus: organizational strategies and rhetorical positions in sunless Confronting Assumptions, Altering Opinions Serving as a Social, Cultural, and Personal Lens Form in Action: the contemporary documentary: Exit through the Gift shop Challenging Form: Experimental Film and New Media A Short History of Experimental Film and Media Practices ss: European Avant-Garde Movements ss: Sound and Vision ss: The Postwar Avant-Garde in America Film in Focus: Avant-Garde Visions in meshes of the Afternoon Styles and Perspectives: Surrealist, Lyrical, and Critical Form in Action: lyrical style in Bridges-Go-round The Significance of Experimental Media Challenging and Expanding Perception Experimental Film Traditions Rituals, Conventions, Archetypes, and Formulas: Movie Genres A Short History of Film Genre Historical Origins of Genres Early Film Genres ss: Genre and the Studio System.

Early Cinema Cinema between the Wars Classical Hollywood Cinema German Expressionist Cinema Soviet Silent Films French Impressionist Cinema and Poetic Realism Postwar Cinemas Postwar Hollywood Italian Neorealism French New Wave Japanese Cinema Third Cinema Contemporary Film Cultures Contemporary Hollywood Contemporary European Cinema Film in Focus: taxi driver and new hollywood Film Theory: Cinematic Specificity and Interdisciplinarity Early and Classical Film Theory Early Film Theory Soviet Montage Theory Classical Film Theories: Formalism and Realism Postwar Film Culture and Criticism Film Journals Auteur Theory Genre Theory Critical Questions in Contemporary Film Theory Semiotics, Structuralism, and Ideological Critique Film in Focus: Genre and Authorship in touch of Evil Poststructuralism: Psychoanalysis, Apparatus Theory, and Spectatorship Theories of Gender and Sexuality Cultural Studies Film and Philosophy Postmodernism and New Media Film in Focus: clueless about contemporary Film theory?

Selecting a Topic Elements of a Film Essay Interpretation, Argument, and Evidence Thesis Statement Outline and Topic Sentences Revision, Manuscript Format, and Proofreading Using Film Images in Your Paper Writers Checklist Researching the Movies Distinguishing Research Materials Film in Focus: interpretation, Argument, and Evidence in rashomon making, watching, and studying moviesn , James Camerons blockbuster Avatar created a sensation, not so much because of its well-worn story of an alien world threatened by exploitation and conquest but because of its dramatic use of 3-D and other new technology.

Extensive newspaper, TV, and online coverage of its billion-dollar budget and spectacular 3-D images appeared well in advance of Avatars release, and the film was widely distributed in a range of venues. By contrast, that same year Lee Danielss Precious, Based on the Novel Push by Sapphire, with its tale of an illiterate African American teenager who finds a way to transform her life, reached audiences by means of a significantly different path. Modestly budgeted and independently produced, the film generated critical and word-of-mouth buzz and, most importantly, an American distributor, Lionsgate, at the Sundance Film Festival. In , Precious garnered several Oscar nominations and two awards that confirmed its status as the most successful surprise of the year. Social and institutional forces shaped these very different films in very different waysfrom their production through their promotion, distribution, and exhibition.

Part 1 of this book identifies institutional, cultural, and industrial contexts that shape the film experience, as well as shifts in these contexts over time, showing us how to connect our personal movie practices with larger critical perspectives on film. The Introduction discusses how and why we study film, while Chapter 1 introduces the movie production process as well as the mechanisms and strategies of film distribution, promotion, and exhibition. Understanding these different contexts will help us to develop a broad and analytical perspective on the film experience. Identifying the dimensions and importance of film culture Appreciating, interpreting, and analyzing film Understanding the changing film experience. Stages of narrative filmmaking Mechanisms of film distribution Practices of promotion and exhibition.

Culture, Practice, ExperienceIn Woody Allens film Annie Hall, Alvy Singer and Annie Hall stand in line to see the French documentary The Sorrow and the Pity. Next to them in line is a professor who pontificates about movies and about the work of media theorist and counterculture critic Marshall McLuhan, author of Understanding Media and The Gutenberg Galaxy. Alvy grows more and more irritated by the conversation, and finally interrupts the professor to tell him he knows nothing about McLuhans work, as Annie looks on, embarrassed. When the professor objects, Alvy counters by bringing McLuhan himself out from a corner of the lobby to confirm that the professor is all wrong about McLuhans writings. While this encounter among moviegoers comically exaggerates a secret wish about how to end an argument about the interpretation of movies, it also dramatizes, with typical Allen humor, the many dimensions of film culturefrom scholarship to courtshipthat drive our pleasure in thinking and talking, both casually and seriously, about film.

For Alvy and many of us, going to the movies is a golden opportunity to converse, think, and disagree about film as a central part of our everyday lives. or more than a century, the movies have been an integral part of our cultural experience, and as such, most of us already know a great deal about them. We know which best-selling novel will be adapted for the big screen and what new releases can be anticipated in the summer; we can identify a front-runner for a major award and which movie franchise will inspire a Halloween costume.

Our encounters with and responses to motion pictures are a product of the diverse attitudes, backgrounds, and interests that we, the viewers and the fans, bring to the movies. These factors all contribute to the film culture that helps frame our overall film experience. Film culture is the social and historical environment permeated with and defined by certain ideas, values, and expectations about movies. Film tastes, viewing habits, and viewing environments all inform film culture, and film culture transforms how we watch, understand, and enjoy movies in a variety of rapidly expanding ways. We can view a televised release of the epic Lawrence of Arabia on consecutive Sunday and Monday nights, join lines of viewers at an old movie palace for the latest I. Experiencing the premiere of a movie becomes a singular social installment of the Twilight franchise [Figevent with friends and other fans.

ure I. Our encounters with and responses to these filmshow and why we select the ones we do, why we like or dislike them, and how we understand or are challenged by themare all part of film culture and, by extension, film study. Define film culture, and discuss the various factors that create and distinguish it. Appreciate the role and impact of film viewers, and note how our experience of movies and our taste for certain films have both personal and public dimensions. Articulate the ways in which film culture and practice discussed in this textbook contribute to the film experience. Why Film Studies mattersAs students, you bring to the classroom a lifetime of exposure to the movies. For example, your opinions about casting certain actors in the film Precious may reflect your understanding of how common movie character types appear and function; your mesmerized attraction to the special effects of Inception may pique your curiosity about new cinematic technology; your expectations of genre formulas, such as those found in the classic horror movie The Shining , may provoke an outburst when a character heads down a darkened corridor.

Film studiesthe disciplinetakes your common knowledge about and appreciation for film and helps you think about it more analytically and more precisely. Film studies is a critical discipline that promotes serious reflection on the movies and the place of film in culture. It is part of a rich and complex history that overlaps with critical work in many other fields, such as literary studies, philosophy, sociology, and art history. From the beginning, the movies have elicited widespread attention from scientists, politicians, and writers of many sortsall of them attempting to make sense of the film experience [Figure i. A films efforts to describe the world, impose its artistic value, or shape society have long been the subject of both scholarly and popular debate. In the decades before the first public projection of films in , scientists tienne-Jules Marey and Eadweard Muybridge embarked on studies of human and animal motion that would lay the groundwork for the invention of cinema as we know it.

In the early twentieth century, poet Vachel Lindsay and Harvard psychologist Hugo Mnsterberg wrote essays and books on the power of movies to change social relationships and the way people perceive the world. By the s, the Payne Fund Studies and later Margaret Farrand Thorps America at the Movies offered sociological accounts of the impact of movies on young people and other social groups. Eventually courses about the art of the movies began to appear in universities, and elite cultural institutions such as the Museum of Modern Art in New York City began to take the new art form seriously. After World War II, new kinds of filmmaking emerged in Europe along with passionate, well-informed criticism about the history and art of the movies, including Hollywood genre films and the accomplishments of certain directors [Figure i. Such critii. Since the s, Mon cin and other cism fueled film studies, which attained a firm foothold in North movie magazines from around the world have promoted American universities by the s.

Today the study of film repremovies not just as entertainment, but also as objects of serious study with important sociological and aesthetic value. sents a wide spectrum of approaches and points of view, including7. studies of different historical periods or national cinemas, accounts of economic and technological developments, studies of how race and gender are depicted in movies and affect audiences responses to them, and explications of particular aesthetic or formal features of films ranging from experimental to documentary to narrative cinema. One sign of today's rich film culture is the popular demand for DVD supplementsextras that have been called film studies on a disk [Figure i.

Many of us now rent or purchase DVDs and Blu-rays not just for the movies themselves but also for the extra features; these may include a film experts commentary, a directors discussion of some of the technical decisions she made during filming, or historical background on the story behind the film. Some DVD editions address issues that are central to film studies, such as preservation of original promotional or textual materials. Trailers and posters that provide a glimpse of film culture at the time of the films release, as well as scholarly commentary, are now available to the everyday film viewer.

For example, in the Treasures from American Film Archives series, early films, hard-to-find gems, restored classics, and film experiments have been preserved and contextualized with scholars voiceovers, making accessible to consumers works that were i. Appearing first in , previously only available to experts. With research on movies Cahiers du cinma remains one of the most influential facilitated by the Internet, the complexities and range of films journals of film criticism and theory. and film cultures may now be more available to viewers than ever before. The Film Experience provides a holistic perspective on the formal and cultural dynamics of watching and thinking about movies.

It does not privilege any one mode of film study over another, but rather provides critical tools and perspectives that will allow individuals to approach film study according to their different needs, aims, and interests. Additionally, it provides the vocabulary needed to understand, analyze, and discuss film as industry, film as art, and film as practice. The Film Experience raises theoretical questions that stretch common reactions. These questions include psychological ones about perception, comprehension, and identification; philosophical ones about the nature of the image and the viewers understanding of it; and social and historical ones about what meanings and messages are reinforced in and excluded by a i.

Expanded DVD formats cultures films. Far from destroying our pleasure in and extras can now provide self-guided study tours of technical and even the movies, studying them increases the ways we can scholarly issues. enjoy them thoughtfully. Film Spectators and Film culturesMovies are always both a private and a public affair. Since the beginning of film history, the power of the movies has derived in part from viewers personal and sometimes idiosyncratic responses to a particular film and in part from the social and cultural contexts that surround their experience of that film. Early viewers of. the Lumire brothers Train Arriving at a Station were rumored to have fled their seats to avoid the trains oncoming rush; new interpretations of such first-encounter stories suggest that viewers attended the screening precisely for a visceral entertainment not found in their normal social lives [Figure I. In a more contemporary example, some individuals reacted on a personal level to Avatar , breathlessly absorbed in a love story that harks back to Romeo and Juliet and overwhelmed by breathtaking visual movements that re-create the experience of amusement park rides.

Other viewers dismissed the film because it offered what they saw as a simplistic political parable about corporate greed, terror, and exploitation far out of line with contemporary realities, disguising its bland characters and predictable story with jazzy I. The audiences reaction is as important an advertisement for the novelty as is the film special effects [Figure I. onscreen, which represents the short comic sketch LArroseur arros The Waterer WaWhile certain approaches in film studies tered, look first at a films formal construction or at the historical background of its production, The Film Experience first emphasizes movie spectators and how they respond to films. Our different viewing experiences determine how we understand the movies, and, ultimately, how we think about a particular moviewhy it excites or disappoints us.

The significance of movies, in short, may lie not primarily in how they are made but rather in how we, as viewers, engage and respond to them. As movie spectators, we are not passive audiences who simply absorb what we see on the screen. We respond actively to films, often in terms of our different ages, backgrounds, educational levels, interests, and geographical locations. It is the richness and complexities of these factors that make film viewing and film study a profound cultural experience. In short, our engagement with a movie goes beyond determining whether we like or dislike it. As active viewers, we engage with a film in energetic and dynamic ways that The Film Experience aims to encourage and direct.

Our reactions are not only personal but also have important public and social dimensions. When Precious was released, for instance, many viewers were predisposed to appreciate it because of critics reviews and word-of-mouth praise that followed the films appearances at the Sundance and Cannes film festivals. As the film continued to play in wider release, its numerous Academy Award nominations and later wins for best supporting actress and best adapted screenplay also influenced audiences curiosity about it and reactions to it. In a dramatic move, Oprah Winfrey, who came on board as one of the films executive producers, en- I. Many viewers responded favorably to Sigourney Weavers strong female character ergetically endorsed Precious on her in the film; others joined an Internet campaign against the films depiction of smoking.

television show. All the while, buzz about the film spread via Twitter, Facebook, and other social media sites, as well as through the entertainment media and daily conversations. The film touched a cultural nerve in an American society still struggling in the twenty-first century with issues of racial inequality, the economic desperation of an urban underclass, sexual abuse, and body image. Precious arrived at the right time for many reasons, becoming an unexpected social barometer and provocation for audiences concerned about these issues. Discussions of the films dramatic images and events thus connected emotional responses with wider social dynamics.

At the intersection of these personal and public experiences, each of us has developed different tastescultural, emotional, intellectual, and social preferences or intereststhat influence our expectations and lead us to like or dislike particular movies. Some tastes vary little from person to person; most people prefer good characters to bad ones and justice served to justice foiled. Yet many tastes in movies are unique products of our experiential circumstances or experiential histories. Experiential circumstances are the material conditions that define our identity at a certain time and in a certain place, such as our age, gender, race, linguistic and socioeconomic background, and the part of the country or world in which we live.

Experiential histories, such as our education, relationships, travels, and even the other films we have seen, are the personal and social encounters through which we have developed our identities over time. These histories help determine individual as well as cultural tastes. For example, American college students may be drawn to Wes Andersons Fantastic Mr. Fox as fans of the directors debut film Rushmore or because they read Roald Dahls books as children. A World War II veteran, because of his experiential history, might have a particular taste for WWII films [Figure i. Miniver to the harder-hitting dramas The Longest Day , Saving Private Ryan , i.

The fiftieth anniversary of the end of World War II was and Flags of Our Fathers The widely commemorated in In , Steven Spielbergs hard-hitting film was hailed by big-screen adaptation of Dreamgirls veterans as a realistic depiction of what American combat troops encountered during the might attract African American invasion of Normandy. audiences familiar with the history of Motown music, Broadway fans familiar with the original musical, or fans eager to see pop star Beyonc in a dramatic role [Figure i. An audiences taste in films can also be tied to historical events, drawing viewers to see films about contemporary experiences such as the Watergate scandal depicted in Nixon or the September 11 terrorist attacks on the United States dramatized in Oliver Stones World Trade Center Our experiential circumstances and i.

Musicals often draw their fan base from audiences familiar with histories may predispose us to certain the Broadway productions from which they are adapted or the pop singers featured in the cast. tastes and responses, but these are activated when we actually watch a film by two psychological processes that come into play simultaneously: identification and cognition. Identification, the complex process through which we empathize with or project onto a character, or participate in a place or an action, is commonly associated with our emotional responses. Both adolescent and adult viewers can respond empathetically to the portrayal of the social electricity and physical awkwardness of teenage i.

Gender is an important, though not necessarily predictable, aspect sexuality in American Graffiti , of viewer identification. The Breakfast Club , or Superbad , though different generations might find the music of one movie or the fashions of another more resonant, and male viewers are likely to relate more easilyor uneasilyto the high school boys at the center of Superbad than are female viewers [Figure i. Each of us may identify with different minor characters such as the nerd Brian or the prom queen Claire in The Breakfast Club , but the success of a film often depends on eliciting audience identification with one or two of the main characters such as Curt and Steve, V ie Wi n g cU e the two boys who are about to leave for college in American Graffiti.

IdenWhat types of films do you identify tification is sustained as the main characters face conflict and choices. Using with most closely? Are they from a another example, while watching the musical An American in Paris particular country or era or particu[Figure i. Do they feature certain opening scenes by identifying with the street life of the artistic Montmartre stars or a particular approach to neighborhood where she had lived as a college student. Another viewer who music or settings? has never been to Paris may participate vicariously because the film so effectively re-creates an atmosphere of romance with which he can identify. Sometimes our preference for a particular film genre aidsor detractsfrom the process of identification. Viewers who favor the adrenaline rush of horror films may have less interest and enthusiasm when faced with the bright colors and romantic plotlines associated with American musicals of the s and s. Cognition, the aspects of comprehension that make up our rational reactions and thought processes, also contributes to our pleasure in watching movies.

At the most basic cognitive level, we process visual and auditory information indicating motion, temporality the passing of time , and dimensionality as we watch movies. At another level, we bring assumptions about a given location or setting to most films, we expect events to change or progress in a certain way, and we measure characters against similar characters encountered elsewhere. Thus watching a i. The setting of a film may be a source of identification. movie is not only an emotional experience. Watching this epic may combine historical knowledge, narrative recognition, andvisceral response.

that involves identifying through processes of participation and empathy but also a cognitive process that involves the intellectual activities of comparison and comprehension. Engaged by our emotional identification with the terrors or triumphs of Russell Crowes character in Gladiator , for example, we also find ourselves engaged cognitively with other aspects of the film [Figure i. We recognize and distinguish the Rome in the movie through particular visual cuesthe Coliseum and other Roman monumentsknown perhaps from studies in world history, pictures, or other movies. We expect we will know who will win the battles and fights because of what weve learned about such skirmishes, but that knowledge wont necessarily prepare us for the extreme and graphic violence depicted in the film.

Because of other experiences, we arrive at the film with certain assumptions about Roman tyrants and heroes, and we appreciate and understand characters like the emperor Commodus or the gladiator Maximus as they successfully balance our expectations with surprises. Even as we are drawn to and bond with places, actions, and characters in films, we must sometimes reconsider how those ways of identifying develop and change as part of our intellectual or cognitive development. Indeed, this process of cognitive realignment and reconsideration determines to a large degree our reaction to a movie. In The Bridges of Madison County , for example, Clint Eastwood, best known for playing physically tough and intimidating characters, plays a reflective and sensitive lover, Robert Kincaid.

Viewers familiar with Eastwoods other roles who expect to see the same type of character played out in The Bridges of Madison County must reconsider what had attracted them to that star, as well as assess how those expectations have been complicated and are now challenging their understanding of The Bridges of Madison County. Does this shift suggest that the film is about a human depth discovered within older masculinity or about the maturing of that masculinity through the encounter with an equally strong woman Meryl Streep as Francesca Johnson? Whether we are able to engage in that process and find the realignment convincing will lay the foundation for our response to the movie. Thus what we like or dislike at the movies often relates to the simultaneous and evolving processes of identification and cognition. Identification, Cognition, and Film VarietyThe processes of cognition and identification that underlie how viewers interact with films contribute to the breadth of films produced and the different ways they are understood and enjoyed.

Hollywood blockbusters like Spider-Man 3 attract large audiences who expect to be entertained by special effects and comic-book spectacle without having to think too deeply about plot, character, or realism [Figure I. Ponyo , a Japanese-made, Japanese-language animated fantasy about a surprising friendship, was released in the United States with well-known actors voicing the characters in English [Figure I. This family-friendly offering nevertheless captured plenty of anime enthusiasts as well as adults dazzled by its visual daring. The documentary Client 9 is an engrossing dissection of former New York governor Eliot Spitzers fall from power as well as an indictment of corporate greed. Its emphasis on contemporary American politics and its exploration of prostitution and corruption undoubtedly shaped its appeal while upping the ante on its perceived importance [Figure I. Independently produced films like Juno , which deals in a humorous and sassy way with teen pregnancy, may appeal to a wealthier, more urban demographic comfortable with ironic, irreverent depictions of social problems [Figure I.

The Blows is a realistic portrayal of a rebellious adolescent. It tells the tale of Antoine Doinel, whose search for identity on the streets of Paris is saturated with questions about sexuality, authority, family, economics, and education. One of the most important films in the birth of the French New Wave, Franois Truffauts film relies extensively on location shooting across Paris to create a world that seems true to life as it is lived, not as it is portrayed in glossy, studio-produced films. Focusing this realism further, the protagonist of the film, Antoine Doinel, is played by. Jean-Pierre Laud, a young teenager with no acting experience who brings an unrehearsed energy to the character of a young boy constantly confronting a seemingly endless variety of authority figures and institutionsschoolteachers, parents, policebent on controlling him.

The gritty street realism and the naive energy of the actors that underpin this production are the essence of what the film aims to communicate. Considering how viewers respond to this realism and Doinelwith sympathy, understanding, alienation, or confusion-is just one of the many paths into the experience of this landmark film. The close relation between this character and the director provides the foundation for a sympathetic identification. Indeed, the film is semi-autobiographical. For many, this makes the film unusually personal and an obvious example of auteurist cinema, whereby a film expresses the directors individual vision [Figure i. Like the protagonist of the film, Truffaut was himself both a bad boy and a writer, in both cases known for raising hellwhich is an idiomatic translation of the films French title, Les quatre cents coups.

Truffauts own youth, like that of Doinel, was that of a troubled truant and sometime thief ultimately redeemed by the cinema. Like Antoine, he was weaned on the cinema, and as a teenager he started his own cine-club, the Film Addicts Club. Shortly after this, he enlisted in the army, but after another of many escapes from various institutions, he was released because of an unstable character. During this period, Truffaut found a surrogate father figure in the great film critic and scholar Andr Bazin, to whom The Blows is dedicated in its credits and to whom Truffauts parents even gave legal guardian rights. That Truffaut quickly became one of the most vociferous and polemical writers about film of the s and was recognized as the primary scholar and archivist for the journal Bazin co-founded, Cahiers du cinma, might extend this autobiographical or auteurist reading of the film to a larger cultural and historical understanding in which the film becomes a central document in the rapidly changing French cinema of the s.

This autobiographical and historical dimension of the film also points to a way of reading and understanding The Blows in terms of its distinctive stylistics. Such a formal approach triggers those cognitive dimensions of watching. Studying Film: Culture, Practice, Experience i n T r O D U c T i O n the film: its use of a discontinuous editing style and lightweight, handheld camera equipment produces a sense of freshness, energy, and immediacy. Numerous examples of Truffauts experimentation with these kinds of innovations with cinematic language appear throughout the film, often as a way to reflexively call attention to a new kind of filmmaking and new ways of seeing.

The sequence toward the conclusion of The Blows when a female therapist interviews Antoine provides a good example: here the lack of a countershot of the therapist, the static position of the camera, and a stream of jump cuts through the entire sequence highlights Antoines spontaneity and Lauds extraordinary facial expressivity, as he is neither cowed nor contained by the interviews question-answer format. Another example occurs in one of the central scenes in the entire film, which may be interpreted as a dense and explicit presentation of Truffauts new film syntax embedded in a historical reflection about cinemas heritage and novelty. During the longer sequence when Antoine and Ren skip school and make a quick trip to the cinema, Antoine climbs aboard the spinning carnival ride called the Rotor [Figure i.

For film historians especially, the scene becomes an unmistakable metaphor for the cinema itself, as the ride resembles that nineteenth-century precursor of the cinema, the zoetrope, and contains a historical reference to the paternity of Alfred Hitchcock specifically. the climactic carousel sequence in Strangers on a Train []. More important, perhaps, Truffauts cameo presence in this scene announces a new and more personal cinematic idiom. The rollicking celebration of movement is not just a vehicle for narrative but also the expression of energy and delight, both Antoines and the filmmakers. Antoine and Rens wild ramble as they play hooky through the streets of Paris highlights the unpredictable realism of the films aesthetic but simultaneously visually liberates the characters and the images from conventional laws of nature and cinematic realism.

Like those other stylistic innovations, the films famous last shota track to a freeze frame of the young Antoines face [Figure i. This unusually long track lasting more than eighty seconds of the fleeing Antoine usually unsettles first-time viewers, particularly since his goal or destination is unclear. This cognitive provocation continues when his face looks directly at the camera, perhaps as a question or perhaps as a confrontation. What is he thinking? What are we meant to understand happens next? The film leaves these questions unanswered, and we as viewers must reflect back on the boys story and bring our individual experiential circumstances and histories to bear in our response.

The carnival ride is a metaphor recalling the disorienting, exhilarating machinery of film. The film ends with a famous, ambiguous freeze frame inwhich Jean-Pierre Laud as Antoine Doinel gazes directly at the camera. The Film experienceWhat a movie looks and sounds like is of course at the heart of any film experience, and much of The Film Experience is devoted to exploring in detail those many visual, audio, narrative, and formal features and forces that we see on the many screens around us. But it is viewers who ultimately process those images and soundsin different and diverse ways that bring meaning to film culture and to their lives.

The cinematic complexities of Citizen Kane , for example, are technically the same for each person, but they provoke different responses in every viewer [Figure i. Hardly a typical viewer, newspaper tycoon William Randolph Hearst reacted negatively to the film and claimed it to be an inflammatory portrait of himself, refusing to allow his papers to carry ads for it. In the s, French writers and filmmakers hailed the film as evidence of the power of the filmmaker to create a personal vision of the world. In recent decades, the films consistent ranking at the top of critics polls has influenced increased viewing of Citizen Kane, thus illustrating how viewers respond to both the movie and its perceived place in film history.

With any film, some viewers may find importance in the technological or economic features; others may highlight the aesthetic or formal innovations; and still others may emphasize a films historical or social significance as its most meaningful quality. The same film, in fact, could lead different moviegoers to any one of these. the film experience. Home Documents The Film Experience. Match case Limit results 1 per page. Post on Apr 5. Category: Documents download. of silent films to colored stocks and, finally, the rich frames or tinted sequencesss: Developments in Color, Wide-Angle, Framing What We See: Cinematography c h a p t e r 3 form in action mise-en-scne in fantastic mr. fox 2. New Form in Action features dissect the action image by image, showing you how formal concepts translate onscreen. The The tools that foster critical tools that foster critical viewing and and analysis viewing analysis The Film Experience offers a vast array of learning The Film Experience offers a vast array of learning tools, including compelling chapter-opening vignettes, tools, including compelling chapter-opening vignettes, helpful Viewing Cues in every chapter, in-depth helpful Viewing Cues in every chapter, in-depth Film in Focus essays,essays, and the very best coverage of Film in Focus and the very best coverage of writing about film from Tim Corrigan, a recognized writing about film from Tim Corrigan, a recognized master master teacher form.

teacher of the of the F i l mi ln i n F im Focus us Foc Film in FocusFocus essays Film in essaysprovide close analyses of key of key films, provide close analyses films, demonstrating how certaincertain techniques or demonstrating how techniques or concepts informinform and enrichfilms. concepts and enrich those those In Alfred Hitchcocks suspense filmsuspense a wealthy In Alfred Hitchcocks Vertigo, film Vertigo, a wealthy businessman named Gavin Elster hires Scottie playedScottie played by businessman named Gavin Elster hires by James Stewart , a retired policeadetective who suffers from suffers from James Stewart , retired police detective who acrophobia fear of heights , to of heights , to watch his wife. Martins, 75 Arlington Street, Boston, MA ISBN: Acknowledgments Acknowledgments and copyrights appear at the back of the book on pages , which constitute an extension of the copyright page.

this page left intentionally blank prefaceExperience is not what happens to you; it is what you do with what happens. Aldous Huxley V irtually all of us have enjoyed the experience of watching movies, and we are well aware of the many pleasures they bring: becoming captivated by imaginary worlds brought to life, observing our favorite stars in familiar and unfamiliar roles, delving into different film genres, and witnessing the enthralling moments in film history projected onto the big screen. In this new edition, we strive to makev vi Preface this proven approach even stronger and even more accessible to a wider range of instructors and students.

Preface vii Learning Tools That Foster Critical Viewing and AnalysisThe Film Experience transforms students from movie buffs to critical viewers by giving them the help they need to translate their movie experiences into theoretical knowledge and analytical insight. Our host of learning tools includes: Compelling chapter-opening vignettes that immediately place students inside a film. In particular, the text clarifies for students the trickier aspects of film history and theory with these features: A single, easy-to-teach History and Historiography: Hollywood and Beyond chapter that provides students with a concise overview of films historic movements and perspectivesfrom classical Hollywood cinema and Soviet silent cinema to French New Wave and Third Cinemathat influence how we watch and evaluate films. viii Preface A pared-down Reading about Film: Critical Theories and Methods chapter that clarifies the core schools and debates within film theory, giving students just what they need to begin to understand how theory informs the film experience, and encouraging them to seek out film theorists writings on their own.

Preface ix Brand-New Powerful Suite of Media Enhances Students Learning ExperienceFor the first time, The Film Experience is accompanied by a full suite of media tools designed to make learning about film more dynamic and fun. x Preface Content for Coursepacks. Thanks also go to Sarah OConnor, xii Preface media producer, and Caitlin Quinn, new media editorial assistant, for helping to make the media for this book happen. caligari Glossary The Next Level: Additional Sources Acknowledgments Index The Film experience pArT 1 cUlTUrAl cOnTexTS i making, watching, and studying moviesn , James Camerons blockbuster Avatar created a sensation, not so much because of its well-worn story of an alien world threatened by exploitation and conquest but because of its dramatic use of 3-D and other new technology.

sents a wide spectrum of approaches and points of view, including7 8 pArT 1 Cultural Contexts: Making, Watching, and Studying Movies studies of different historical periods or national cinemas, accounts of economic and technological developments, studies of how race and gender are depicted in movies and affect audiences responses to them, and explications of particular aesthetic or formal features of films ranging from experimental to documentary to narrative cinema. Early viewers of Studying Film: Culture, Practice, Experience I n T r O d u C T I O n 9 the Lumire brothers Train Arriving at a Station were rumored to have fled their seats to avoid the trains oncoming rush; new interpretations of such first-encounter stories suggest that viewers attended the screening precisely for a visceral entertainment not found in their normal social lives [Figure I.

Studying Film: Culture, Practice, Experience i n T r O D U c T i O n 11 tastes and responses, but these are activated when we actually watch a film by two psychological processes that come into play simultaneously: identification and cognition. movie is not only an emotional experience 12 pArT 1 Cultural Contexts: Making, Watching, and Studying Movies i. rm In FO CTIOn a Identification, Cognition, and Film VarietyThe processes of cognition and identification that underlie how viewers interact with films contribute to the breadth of films produced and the different ways they are understood and enjoyed.

The director is closely identified with theFrench New Wave. Focusing this realism further, the protagonist of the film, Antoine Doinel, is played by Jean-Pierre Laud, a young teenager with no acting experience who brings an unrehearsed energy to the character of a young boy constantly confronting a seemingly endless variety of authority figures and institutionsschoolteachers, parents, policebent on controlling him. Such a formal approach triggers those cognitive dimensions of watching Studying Film: Culture, Practice, Experience i n T r O D U c T i O n the film: its use of a discontinuous editing style and lightweight, handheld camera equipment produces a sense of freshness, energy, and immediacy. For film historians especially, the scene becomes an unmistakable metaphor for the cinema itself, as the ride resembles that nineteenth-century precursor of the cinema, the zoetrope, and contains a historical reference to the paternity of Alfred Hitchcock specifically 15 the climactic carousel sequence in Strangers on a Train [].

Displaying Vision Heraeus Precious Metals — Materials … · Heraeus Thick Film With over 40 years of experience in the thick film busi-ness, Heraeus offers organometallic and polymer. program guide 3 sponsors about the Festival letter from the Director. Jean Mitry: Aesthetic and Psychology of Cinema 1. Film structures: essential core of traits that define all film experience. Film forms: stylistic choices. Unfold your talent VIA University College VIA Film Genre Film: A Classical Experience Amended Version: Michael Sorg Orig.

Part 1 Context The Cult Film as Experience · · The Cult Film as Experience Driven by experience - orthopaediclist. com Brochure pdf · Driven by experience 11 At rest A fluid film is present when the two articulating surfaces are separated by the. The film score and the African musical experience: some comments. FM4: Varieties Of Film Experience — Issues and Debates. film and the illusion of experience - ScholarWorks - Montana State. Justin Richards. Film, Theatre, and Concert Experience: Death and Dying In. Experience with the Application of a Film Forming Amine in.

sixth annual - Waimea Ocean Film Festival · · 2 waimea ocean film festival experience. program guide 3 sponsors about the Festival letter. Sixth edition. pdf download The Film Experience: An Introduction read The Film Experience: An An Introduction ebook The Film Experience: An Introduction csv The Film. The Film Experience: An Introduction, Fourth Edition le Timothy Corrigan [LÁMHLEABHAR LEABHAR KINDLE EPUB MOBI] Léigh agus D0wnl0ad saor in aisce The Film. This Special Issue on memory and the experience of cinemagoing centres on the state of an emergent field, Memory Studies Epub ahead of print 20 June. Add Comment. Please, Sign In to add comment. Public Pastes. JavaScript 8 min ago 1. HTML 44 min ago Lua 48 min ago 1. Python 55 min ago 2. JavaScript 1 hour ago 0. We use cookies for various purposes including analytics.

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Embed Size px x x x x Go from movie buffThe Film Experience will help you see the movies you already know and love in a whole new way and open your eyes to broader worlds of film past, present, and future. Breaks down the basics of film, helping you decode every shot, angle, and soundThe Film Experience gives you the best foundation andfilms formal Cinematography basic building blocks of in Small-Gauge elements the all film from the way a scene is arranged and shot on camera to the useas thesound potential of the medium was of aesthetic and different editing Technical innovations increased even explored. film storytelling and movie genres, as of colors styles. This book will also teach you the fundamentals of By the s, color processes, by which a single or a wide rangewell as become part of the film image, had evolved from the individually hand-painted introduce you to the world of documentary and avant-garde films.

of silent films to colored stocks and, finally, the rich frames or tinted sequencesss: Developments in Color, Wide-Angle,. Wes Andersons Fantastic Mr. Fox uses stop-motion animation to bring a much-loved Roald Dahl childrens book to life. The tale pits three ruthless farmers against Mr. Foxs thrill-seeking thievery, pulling an array of animals into the fray in the process. The film relies on an elaborately textured mise-en-scne to develop and enrich the storys largely underground action. A scene depicting the displaced animals new home in Badgers Flint Mine opens with Mole playing the piano [figure 2. The space is large and tastefully lit by candles and a garland of what appears to be fruit and fake flowers entwined with twinkle lights.

Even in this first image, however, the storage racks in the background indicate that the gracious living of Badgers home is being challenged by an influx of refugees and stolen supplies. The camera tracks right to a kitchen area [figure 2. Bright, cheery lighting highlights Rabbit chopping ingredients for a communal meal, and the cramped space and detailed abundance of food like the roasting rack of stolen chickens indicates both the large number and the camaraderie of the refugee animals. The camera moves right again to Mr. Fox and Badger, strolling past the opening to a bedroom where the feet of an exhausted animal can be seen lying on a top bunk [figure 2. The scene ends at a punch bowl [figure 2. It is at this point in the shot that Ash, Mr. Foxs son, believing decisive action is needed to restore Mr. Foxs honor, asks his cousin Kristofferson to help him retrieve his fathers tail from the ferocious Farmer Bean.

Production design richly colors this tale in which animals dress and act more human than the humans hunting them. Technicolor process that would dominate color film production until the s. The Disney cartoon Flowers and Trees was the first to use Technicolors three-strip process, which recorded different colors separately, using a dye transfer process to create a single image with a full spectrum of color. The process offered new realism but was often used to highlight artifice and spectacle, as in The Wizard of Oz [Figures 3. Meanwhile, the camera lens, the piece of curved glass that redirects light rays in order to focus and shape images, also changed significantlyin terms of lens speed, which determines how much light an aperture allows to be gathered that is, the f-stop , and the introduction of new lenseswide-angle, telephoto, and zoom.

Each lens produces a different focal lengththe distance from the center of the lens to the point where light rays meet in sharp focusthat alters the perspective relations of an image. Wide-angle lenses have a short focal length, telephoto lenses have a long one, and a zoom is a variable focus lens. The range of perspectives offered by these advancements allowed for better resolution, more depth of field the portion of the image that is in focus , wider angles, and more frame movement. Viewers sometimes find the opening, sepia-tinted scenes of The Wizard of Oz jarring a ,having vivid memories of the film in Technicolor. When Dorothy first opens the door to Munchkinland, the drab tints of Kansas are left behind b.

Technicolors saturated primary colors are so important in the film c , the silver slippers of the book were changed to ruby slippers for the screen. More than eight hundred stunning film images, now withmore in-depth captions, expose you to a vast array of films. A focus on film film culture and the viewing experience A focus on culture and the viewing experienceThe Film Experience recognizes that film is film is so more than a than a collection ofon The Film Experience recognizes that so much much more collection of shots shots on a screen. The book consistently explains the cultural contexts that contribute to a The book consistently explains the larger larger cultural contexts that contribute to the power of filmof film in our lives that undeniable movie magic. the power in our lives that undeniable movie magic. New coverage captures the latestlatest New coverage captures the technological and media technological and media innovations that are transforming our our innovations that are transformingviewing experiences from from Internet viewing experiences Internet streaming to the proliferation of TwitterTwitter streaming to the proliferation of marketing campaigns, like the one that that marketing campaigns, like the one generated Oscar buzz for Thefor The Hurt Locker.

generated Oscar buzz Hurt Locker. Encountering Film Film EncounteringFrom Preproduction to From Preproduction to Exhibition ExhibitionLong before James Camerons Avatar arrived in theaters, arrived in theaters, viewers were primed Long before James Camerons Avatar viewers were primed by carefully vetted stories on the films vetted stories on the filmsand its imagined by carefully technological innovations technological innovations and its imagined worldincluding the invented language spoken there. The hype surrounding Avatar was surrounding Avatar was worldincluding the invented language spoken there. The hype considered by many to be well earned. by many to be well earned. facilitated a range considered The film and the franchise The film and the franchise facilitated a range of experiences: an immersive spectatorial environment, multiple viewings, companion of experiences: an immersive spectatorial environment, multiple viewings, companion games, successive releasesgames, successiveversions, fan-producedDVD versions, fan-produced narratives, and of special DVD releases of special narratives, and even a museum exhibit.

It quickly became the highest-grossing film ofthe highest-grossing film of all time though even a museum exhibit. It quickly became all time though not if figures are adjusted for inflation. Even with a production budget of approxinot if figures are adjusted for inflation. cal research earned considerable profits. Yet this epoch-defining production epoch-defining Camerons previousrepeat Camerons previous Oscar win. Yet this did not repeat production did not Oscar win. An outsized entertainment-oriented movie, it was passed over in favorit was passed over in favor of The Hurt An outsized entertainment-oriented movie, of The Hurt Locker , an independently produced film directed by Kathryn Bigelow about a Kathryn Bigelow about a Locker , an independently produced film directed by U. military bomb squad in Iraq that had a more limited release.

It may have been release. It may have been U. military bomb squad in Iraq that had a more limited seen as more deserving of seenaward that year, amid the ongoing fighting in Iraq ongoing fighting in Iraq the as more deserving of award that year, amid the and Afghanistan, reminding us Afghanistan, of artistic merit are influenced by social are influenced by social and that criteria reminding us that criteria of artistic merit values. Bigelows recognition as the first woman to receive the first woman to receive the best director award values. Bigelows recognition as best director award lent another kind of historical significance to The Hurt Lockers critical reception. Lockers critical reception. As lent another kind of historical significance to The Hurt As these two disparate films suggest, film production, distribution, and exhibitiondistribution, and exhibition shape these two disparate films suggest, film production, shape our encounters with movies, and these aspectsmovies, are in turn aspects by how are in turn shaped by how our encounters with of film and these shaped of film movies are received by audiences.

are received by audiences. New singlesingle history chapter and a streamlined theory New history chapter and a streamlined theory chapter provide a rich, a rich, yet concise, look at how history and chapter provide yet concise, look at how history andtheory theory enhance the culture of film. enhance the culture of film. The The tools that foster critical tools that foster critical viewing and and analysis viewing analysis. The Film Experience offers a vast array of learning The Film Experience offers a vast array of learning tools, including compelling chapter-opening vignettes, tools, including compelling chapter-opening vignettes, helpful Viewing Cues in every chapter, in-depth helpful Viewing Cues in every chapter, in-depth Film in Focus essays,essays, and the very best coverage of Film in Focus and the very best coverage of writing about film from Tim Corrigan, a recognized writing about film from Tim Corrigan, a recognized master master teacher form.

teacher of the of the. Film in FocusFocus essays Film in essaysprovide close analyses of key of key films, provide close analyses films, demonstrating how certaincertain techniques or demonstrating how techniques or concepts informinform and enrichfilms. concepts and enrich those those. In Alfred Hitchcocks suspense filmsuspense a wealthy In Alfred Hitchcocks Vertigo, film Vertigo, a wealthy businessman named Gavin Elster hires Scottie playedScottie played by businessman named Gavin Elster hires by James Stewart , a retired policeadetective who suffers from suffers from James Stewart , retired police detective who acrophobia fear of heights , to of heights , to watch his wife.

Madeleine acrophobia fear watch his wife. Madeleine Kim Novak , Elster Novak , Elster claims, is troubled by her obsession Kim claims, is troubled by her obsession with Carlotta, with Carlotta, a the past. from the past. res- Scottie resa woman from woman After Scottie After cues Madeleine during an apparent suicide attempt, he attempt, he cues Madeleine during an apparent suicide falls in love with her, love with her, and when his acrophobia prevents falls in and when his acrophobia prevents him from stopping from as she races to leap races ato leap from a mishim her stopping her as she from mission tower, her death sends Scottie sends Scottie into a spiral of guilt. sion tower, her death into a spiral of guilt. Later he believes he sees his lost love on the streetson the streets of Later he believes he sees his lost love of San Francisco,San Francisco, anda look-alike of a look-alike woman, Judy and his pursuit of his pursuit woman, Judy 3. Vertigo In this striking composition, also played by Novak , entangles him entangles him in to also played by Novak , in another twist another twist Vertigo 3.

of the woman he pursues. sis involves distinguishing distinguishing reality from fictive images of it. sis involves reality from fictive images of it. Vertigo takes Vertigo takes advantage of possibility advantage of almost every almost every possibility in the film frame. Employing a particular brand of wide-brand of wide- Scottie follows Madeleine through the streets, the streets, in the film frame. Employing a particular angles as angles as Scottie follows Madeleine through screen projection called VistaVision, the aspect ratio of screen projection called VistaVision, the aspect ratio of and the films and the films recurring motif aboutheights recurring motif about the terror of the terror of heights Hitchcocks film is one offilm immediately recognizable recognizable Hitchcocks its is one of its immediately informs even informs even the most commonplacehigh the most commonplace scenes, as scenes, as high and significantand significant formalespecially open space open space overheadand overhead Scotties panicked formal features: the features: the especially angles and angles shots ignite shots ignite Scotties panicked that the widescreen frame creates frame creates becomes a paranoia.

Especially when these sharp angles sharp angles reflect that the widescreen becomes a fitting enfitting enparanoia. Especially when these reflect vironment for vironment for Scottie and his anxious searches throughpointScotties they suggest complex psychologi- psychologiScottie and his anxious searches through Scotties of view, point of view, they suggest complex the wide vistas ofwide vistas of San Francisco. Although Vertigoand moral cal and moral concernsand control asand control as well the San Francisco. Although Vertigo does cal does concerns about power about power well not employ masksemploy artificially the artificiallyof older way ofabout desire aboutguilt, perhapsguilt, perhapsthose not in the masks in obvious way obvious as older as and desire and dramatizing dramatizing those films, at timesfilms, at times Hitchcock cleverly creates masking effects when Scotties desires leave desires positions in positions Hitchcock cleverly creates masking effects moments moments when Scotties him in leave him.

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Kaiser Managing Editor: Shuli Traub. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher. Manufactured in the United States of America. Martins, 75 Arlington Street, Boston, MA ISBN: Acknowledgments Acknowledgments and copyrights appear at the back of the book on pages , which constitute an extension of the copyright page. It is a violation of the law to reproduce these selections by any means whatsoever without the written permission of the copyright holder.

by many to be well earned. You also want an ePaper? Written by experienced teachers in the field and lavishly illustrated with over film stills and production shots, it will be essential reading for any student of film. For film historians especially, the scene becomes an unmistakable metaphor for the cinema itself, as the ride resembles that nineteenth-century precursor of the cinema, the zoetrope, and contains a historical reference to the paternity of Alfred Hitchcock specifically 15 the climactic carousel sequence in Strangers on a Train []. New coverage captures the latestlatest New coverage captures the technological and media technological and media innovations that are transforming our our innovations that are transformingviewing experiences from from Internet viewing experiences Internet streaming to the proliferation of TwitterTwitter streaming to the proliferation of marketing campaigns, like the one that that marketing campaigns, like the one generated Oscar buzz for Thefor The Hurt Locker. sis involves distinguishing distinguishing reality from fictive images of it. It may have been release.

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