Take one of the questions below and answer it in relation to The Conversation, but be sure to add how that element is FUNCTIONING in the film - what is it's purpose and what effects are achieved by the sonic manipulation? What sounds are present - music,
dialogue, noise? How are loudness, pitch, and timbre used? Is the mixture
sparse or dense? Modulated or abruptly changing?
Is the sound related rhythmically
to the image? If so, how? Is the sound faithful or unfaithful
to its perceived source? Where is the sound coming from? In
the story’s space or outside it? Onscreen or offscreen? If offscreen, how is it
shaping your response to what you’re seeing? When is the sound occurring?
Simultaneous with the story action? Before? After? How are the various sounds
organized across a sequence or entire film? What patterns are formed, and how
do they reinforce aspects of the film’s overall form? Sound motifs? Extra Credit will be awarded if you turn this blog post in by 5pm on Friday, December 20th.
SPACE ASSIGNMENT:Create a blog post that would engage a reader to demonstrate their
understanding of the four types of space, surface divisions, and the concepts
of closed and open space. Think of it as an assignment or test posted up as a
blog post – how fancy you want to get is up to you.Include aspects such as the cues that help
create or identify types of space, the ways in which surface divisions can be
created, and an exploration of how and why a filmmaker would use a chosen space
and create divisions. The assignment/test must have a written component, but it
does not have to be all written (it could include specific activities,
demonstrations, etc). BLOG MUST BE POSTED BY DEC 2nd!
Make sure you include the time
allotted for the test or assignment and how you as the teacher would grade or
evaluate their understanding/performance.We will be voting on the “best” assignment.Michael and Andy as well as the two students
who took the class last year will also put in their votes.There will be prizes!
Voting criteria is not the hardest or most creative – it is
the assignment that would best demonstrate a student’s understanding of the
material!
Perspective/Longitudinal Planes
Size Difference
Object Movement (especially towards and away)
Camera Movement – dolly, track, boom
Textural Diffusion (creating differences)
Aerial Diffusion (only effective when there are some objects unaffected by
diffusion)
Shape Change – with or without movement
Tonal Separation
Color Separation
Up/Down Position
Overlap
Focus - deep
Flat Cues:
Frontal Planes (no perspective)
Size Consistency
Object Movement – parallel to the picture plane only!
Camera Movement – pan, tilt, zoom
Textural Diffusion (creating affinity)
Aerial Diffusion (diffusion overwhelms all depth cues)
No Shape Change
Tonal Separation – tonal range confined to only one third of gray scale,
affinity
Color Separation – affinity over contrast
Up/Down Position eliminated
No Overlap
Focus - shallow
Limited Cues:
Same as Depth cues EXCEPT:
Longitudinal Planes – Frontal Planes instead
Movement toward or away from the camera – objects move parallel only
Ambiguous Space Created by:
Lack of Movement
Objects of Unknown Size or Shape
Tonal and Textural Patterns (that create confusion)
Mirrors and Reflections
Disorienting Camera Angles
Surface Divisions
Halves
Thirds
Grids
Square on Rectangle
Golden
Closed and Open Space Space on a screen within a frame is inherently CLOSED. The way to create open space is: Project on a larger screenCreate Strong Visual Movement on screen random, multidirectional movement does the best Camera movement can also create open space - but the more multidirectional it is the more open the space will be (think of rotating the axis of the lens) Eliminate Stationary Lines
In the film American Splendor the filmmakers tackle a story about a guy who writes stories about himself and his life in a comic book. In this article, cinematographer Terry Stacey talks about how the choices for the film were made to help reflect aspects of the original comic book they were adapting both in look and in its self-reflective nature. After reading this article please post up your thoughts on the film and it's look - both in mise-en-scene and in terms of cinematography. This does not have to be a very formal post - but please be sure to be specific with your ideas. Did you notice (or looking back can you remember) some of the things that Stacey points out? What other aspects helped to mirror the look of a comic book or the themes of real life reflected in a medium that we typically think of as "make-believe?"
Please post this up by Monday 10/28.
Please be sure to comment on two other blog posts by Monday 11/4.
Urban streets, gunshots, dark alleyways, extravagant clubs, sharp suits: the conventions of the gangster genre are easy to spot in the 1976 film Bugsy Malone, including even specific references to other gangster films. But what about the themes of the classical depression-era gangster films? Can you see any influence of the allegorical "allure and potentially catastrophic consequences of untrammelled individualism" or issues of ethnic or class struggles? Or does the film alter this look on The American Dream by creating a world filled entirely with children and ending the gruesome final showdown with a showstopper? After all, the final words we are left with are:
"You give a little love and it all comes back to you, you know you're gonna be remembered for the things you say and do."
How do the aspects of the integrated music in the film change or add to the thematics of this gangster film? This film is an interesting mix of integrated and "backstage" musical numbers, with the added component of the voices being dubbed over by adults. What effect did all this have on the film as a whole, and can you relate that to the themes you feel it was exploring?
I know that's a lot - I'd like you to really think about this film and how the elements are working, not just post up an opinion piece about how you felt about it. As usual 400 words are the minimum. Due by Monday, May 13th and comments on two others due by Wed, May 15th (this is a bit of an extension than what was on your original assignment sheet).
Check out a piece of this documentary - "Bugsy Malone: After They Were Famous"
Alan Parker talks about how his son was the one who had the idea to make a movie that was only kids. I believe you can find this whole documentary on youtube (as well as the whole film if you want to re-watch anything).
My reason for choosing Annie as our "pure" musical example is mostly because the film takes place during the same time period and urban setting as the gangster films we watched. You can actually imagine that just blocks from the orphanage the gangsters are meeting and plotting, after all Miss Hannigan not only makes bathtub gin, Warbucks says she's been spotted hanging out with some guy named "Little Caesar" (an obvious reference to the gangster). You will also see that the film ties nicely to the mixed genre example we will be screening. The outstanding performances by Carol Burnett, Tim Curry, Bernadette Peters, and Albert Finney (who was also one of our gangsters in Miller's Crossing) also factored into my choice.
For your blog post I'd like you to consider how the film explores the themes of the American Dream, greed, ambition, poverty and prosperity - all important ideas in the gangster genre as well. How do the musical numbers tie into the thematics of the film? And in what ways is the film an integrated musical, and does it stray into the realm of spectacle as well?
As always 400 words is the minimum - but please be sure to write until your points are proven. Post should be up by Tues, April 30th. No comments are required.
In what ways does Miller's Crossing explore either classical or revisionist themes involving criticism of the American Dream, the effects of capitalism, and outlooks on society (this includes class and ethnic issues as well as government and business)? What other ways do the Coen brothers play with the conventions of the gangster genre, including the iconography associated with the gangsters themselves (costume, props, sounds, setting)? You could also, if you so wish, compare the gangster character of Tom to Scarface's Tony.
Blog post is due Wed, April 24th. No comments required. Minimum 400 words.
OPTIONAL CHOICE - if you'd like to combine your Scarface and Miller's Crossing blog posts and compare the two gangster films you could do that, but the expectation is that your blog post would then be 800 words. This post would still be due Wed, April 24th.
The 1932 film Scarface was one of the films to help crystalize the classical period of the genre. With that in mind, and using your reading as reference, what are the specific conventions of the genre that you can identify within the film? Think about: character, setting, iconography, themes, stylistic attributes, and audience expectations. Please be specific with examples.
Blog post is due Wednesday, April 17th. No comments are required.
