Movies Flashcards Preview

Film > Movies > Flashcards

Flashcards in Movies Deck (46):

Living in Oblivion (Tom DiCillo. USA, 1995)

-waking up as transition betw. 3 parts, parallelism
-colour: distinction betw. film + film within
-b&w to distinguish parts
-repetition of dreams + multiple takes
-slate: visual motif (element is significant in repetition
-variation in diff. errors
-challenge in filmmaking (explicit)
-challenge in indie filmmaking outside Hollywood (referential)
-stakes of creative choices (implicit)
-nature of artistic collaboration
-part 1+2: restricted, objective, part 3: objective+unrestricted


In the Mood for Love (Wong Kar-wai. Hong Kong/France, 2000)

-don't show their spouses
-lacks closure
-let go of his secret=new equilibrium
-development of relationship=taxi
-diner scene equilib.-disequilibrium
-disequilibrium in figuring out how their spouses had an affair


Citizen Kane (Orson Welles. USA, 1941)

-signing scene: parents on opposite ends, Kane in the middle, mom is in charge (in foreground, largest figure)
-nondiegetic music, hushed noise, shoes klick klack, groan by door, echoes, march like music=large institutionalized, cold, reverential: reflects character
-Kane+Susan: incompatible pitches, loudness, timbre: reflects harsh contrast


Play Time (Jacques Tati. France/Italy, 1967)

-monotomy (uniform), rigidity, conformity
-lack of privacy/transparancy
-glass as a barrier, lack of connection, modernity, distance us
-grey: dull (monochromatic colour palette)
-all cities are the same (buildings)
-some furniture, straight right angled
-party: more colour, liveliness, more music, more movement
-breakdown, chaotic
-still crazy in drugstore
-modern tech breakdown=freedom


Y tu mamá también (Alfonso Cuarón. Mexico, 2001)

-communicative voice over
-uncommunicative: weren't told about Louisa's cancer
-non diegetic voice over=self-conscious narration
-pan to something else during narration
-omniscient, unrestricted narration
-handheld: spontaneous, looseness reflected by their lifestyle
-distracted gaze: world outside of them, provides context
-socioeconomic comments
-end scene: rigid, MLS-MCU, structured, tension, fact that their relationship is over
-informal + intimate-seperation


Do the Right Thing (Spike Lee. USA, 1989)

-unrestricted: greater knowledge than character=suspense
-discontinuous editing-racial slurs
-match on action in diner scene


A Man Escaped (Robert Bresson. France, 1956)

-restricted: deliberately limits knowledge to character-surprise
-communicative: tells us what he is doing as he is doing it, but restricted
-external, non simultaneous (past tense), not much dialogue
-german's not subtitled
-voiceover narrative (objective mapping out)
-little internal subjective
-footsteps, train, whistle, gun shots-offscreen
-emphasize constant danger + builds suspense
-silence: signal of stopping, builds suspense
-music: same Mozart music used sparsely


Moonrise Kingdom (Wes Anderson. USA, 2012)

-film talks directly to us (red gnome, letters)
-self conscious narration
-stylized acting
-Cinematography: specific techniques structured
-track right-continuity
-no selective focus/deep space focus
-zoom out/dolly out
-variety of shot scales
-MES: costumes establish personality-look distinct
-low contrast lighting
-deep space composition-action across all planes
-lighting is continuous-nothing obscured
-symmetry in frame-precise
-performance: serious, deadpan, stachoto (short), fast speed, no wavering/stumbles, crafted dialogue
-on location


Rashomon (Akira Kurosawa. Japan, 1950)

-8 testimonies of irreconcilable accounts
-woodcutter knows more than he revealed
-structured around flashbacks
-contradictory accounts
-POV of judge, static camera, high key lighting
-sparse dialogue, strategic use of light, shadow, tonal values, choreod cinematography + editing


Forbidden Lie$ (Anna Broinowski. Australia, 2007)

-it's hard to find the truth, everything is called into question
-reenactment: too fake
-interviews: ppl in Norma's life + experts
-film is constantly contradicting itself


Ballet Mécanique / Mechanical Ballet (Fernand Léger. France, 1924)

-compare humans to machines through parallel editing
-similar rhythms
-abstract: we see alot of objects + forces us to see it in diff. way
-back+forth movement
-mechanical movement
-director was an artist interested in which we move like machines
-makes us look at whisk as an object, colour, shape, movement
-focus on colour, light,vector, movement, not meaning/context
-balet making object moving like dance


Un Chien Andalou /An Andalusian Dog (Luis Buñuel. France, 1929)

-graphic match: armpit, ants
-illogical narrative: weird timeline, diegesis
-confusing intertitles
-continuity editing, spatial discontinuity
-surrealism, confusing, dream logic, subconscious
-diff. kind of logic


Meshes of the Afternoon (Maya Deren and Alexander Hammid. USA, 1943)

-follows woman, mirror face
-repeated events: stairs, flower
-circular narrative
-continuity editing


Dog Star Man: Prelude (Stan Brakhage. USA, 1961)

-red, ppl, trees, blobs, moon, sky, heart, blood
-superimposed images
-rapid cutting
-silent: focus on images, pay attention to form
-forces you to be in a diff. space, look at world in diff. way
-point is there is no meaning
-stop looking for deeper meaning, focus on perception


Very Nice, Very Nice (Arthur Lipsett. Canada, 1961)

-still images of ppl + landscapes
-compilation of sound clips from radio + tv
-comment on society, life in the 60s
-editing rhythm matches with sound
-associational: metaphorical editing to produce meaning
-make connection betw. sound + images
-taking diff. things+putting it together in a way that produces new meaning


It Wasn’t Love (Sadie Benning. USA, 1992)

-self narration
-Fisher Price camera
-title sequences
-distorted narrative
-DIY, amaturish aesthetics
-taking existing media + subjecting a narrative on it


Rhythmus 21 (Hans Richter. Germany, 1921)

-close relationship betw. avante garde + animation
-cut out animation
-works various + juxtaposition of shapes
-capacity for film through succession of images, creating depth


Begone Dull Care (Norman McLaren. Canada, 1949)

-inking, scratching on film, direct
-time based medium
-counterpart to music, hand drawn sound, make visual music


Magical Maestro (Tex Avery. USA, 1952)

-classical, drawn
-play with Disney characters, ruin childhood
-breakneck speed of narrative
-lays bare racial stereotypes


Café Bar (Alison De Vere. UK, 1975)

-lead designer of yellow submarine
-female animator


Dimensions of Dialogue (Jan Svankmajer. Czechoslovakia, 1982)

-czech animator
-animates objects, becomes claymation
-as figures they have stability
-clay continually made, unmade + remade
-about film producing movement


Street of Crocodiles (The Brothers Quay. UK, 1986)

-animated mundane objects
-puppet animation on some part
-full of rusty objects that are displaces


I Met the Walrus (Josh Raskin. Canada, 2007)

-Jerry Levithan snuck into hotel room of John Lennon + interviewed him
-Josh generated animation of film with computer


In the Mood for Love (Wong Kar-wai. Hong Kong/France, 2000) - Tutorial

-food=intimacy see progression
-music establishes narrative progression
-kesas: frustration, missing each other
-last song: get closer
-setting: diner, apartment(constrained), stairs, alley(able to be open with one another), office
-love is fleeting, lingering
-slow shots=sensuality
-swinging shot=moment of realization
-knowledge that suspicion is real


Citizen Kane (Orson Welles. USA, 1941) - Tutorial

-draws us in with mystery
-news on march: overview of life/road map of movie
-Rosebud: propels the story
-drives plot, happiness
-tragic hero
-flashbacks (chronological), easy to follow
-plot: 65 years, story: 73 years
-time is compressed (breakfast sequence)
-opera sequence (2 perspectives)
-turning point in his relationship=turning point in personality
-news: objective + unrestricted, Thatcher: subjective+restricted, Leland: objective, subjective + unrestricted, Susan: subjective + restricted
-Narration: unrestricted (diegetic character narration)


Moonrise Kingdom (Wes Anderson. USA, 2012) - Tutorial

-editing: rhythmic continuity
-spatial continuity
-graphic matches
-editing acts as punctuation to draw attention (wife)
-sounds: nondiegetic: drums-sound bridge
-shift betw. diegetic-nondiegetic: beginning of film
-dialogue is foreground, little music
-style: suggests parallel universe
-colour pallette: instagram vintage look
-grainy, brownish filter
-bright colour stands out
-very specific, utopian, controlled, manufactured, neat + tidy


Rashomon (Akira Kurosawa. Japan, 1950) - Tutorial

-changing shot scale, tracking, camera always moving=suspense
-light through trees
-camera is one step behind woodcutter-delay
-his reaction then what he sees=suspense
-not in loop as much as he is
-film as whole emphasized on reactions because told through characters
-all narration is called in question
-unrestricted-multiple subjective perspectives
-subjective accounts + objective account
-uncommunicative: we end up not knowing what is true


His Girl Friday (Howard Hawks. USA, 1940)

•cary grant
•screwball comedy


8 1/2 (Federico Fellini. Italy/France, 1963)

gives access to subjectivity, allows us to explore complexity, but does not provide explanation for character
•pursuit of realism, authorial expressivity
•it’s trying to create realistic depiction of the world
•realism is a fraught word, incited debate -psychological realism
•filmmaker’s own voice, expression of self
•intrusive narrator


Tout Va Bien /All’s Well (Jean-Luc Godard and Jean-Pierre Gorin. France/Italy, 1972)

•Jean Luc Godard: became leftist, created radical films political in form, worked indie
collaborative + experimental return to French cinema, social movement, exploitation, justice
•Influenced by: May 1968, althusserian Marxism, bertold brecht (epic theatre), soviet cinema (put emphasis on editing, used editing to create new world/reality that doesn’t conform with reality)


Tout Va Bien /All’s Well (Jean-Luc Godard and Jean-Pierre Gorin. France/Italy, 1972)

•First 5 min, laying bare production process complicated + expensive (cheques)
•Acknowledging the conventions it refuses
•Stylistic devices
•Dollhouse set + Breaking of 4th wall: draw attention to artificiality, ideological purpose, make explicit with the divisions of class, income, literal separations
oWoman representative of a group of women, confrontational, talks to audience in challenging way
oWe are not allowed to stay detached, we are being implicated in being part of the structure that they are attacking


8 1/2 (Federico Fellini. Italy/France, 1963)

oSpot lights in harem scene (ladies in his life)
oReference to curtain call at the end of theatre shows
oGuido + Felini are involved in making same movie: scene dedicated to screen tests, Luisa watching scene of movie version of herself, we can imagine Felini’s wife
-lack will, Guido drifts along, ambiguous closure, never sure as a spectator where you're aligned


Women on the Verge of a Nervous Breakdown (Pedro Almodóvar. Spain, 1988)

combines elements of screwball comedy with elements of melodrama in order to produce a movie that responds to its context of production: Spain in the late 1980s
•Contemporary screwball comedy
•Structural oppositions
•All things mixed up with other things
produces classical conventions + transforms them – melodrama + screwball


Orlando (Sally Potter. UK/France/Italy/Russia/Netherlands, 1992)

brings together political + entertainment
•Gives us the pleasure we’re used to
UK, France, Netherlands, Russia, Italy, small funding
-treated + act diff when change sex
-repeated narrative elements: how gender is constructed
-perception changes from societal context, historical
panning: emphasis on distance + by keeping them in organic frame suggests fluidity
-not much diff betw M + W
-Radical: draws attention to itself - breaking 4th wall, no realism, intertitles, stylized nature


Camp de Thiaroye (Ousmane Sembène and Thierno Faty Sow. Algeria/Senegal/Tunisia, 1987)

fill in gaps + make known the abusive use of power
•Sembene: published first novel in mid 30s
•By 40 he returned to senegal
•He decided to become a filmmaker to make a narrative widely accessible


My Winnipeg (Guy Maddin. Canada, 2007)

anti + off-Hollywood
•Mingling of 2 traditions – anti-Hollywood
•off-hollywood: canadian auteur well known internationally, contributes to Canadian cinema, doesn’t compete with Hollywood
•About specificity of place + way how prominent city has changed the subjectivity of its inhabitants


Persepolis (Marjane Satrapi and Vincent Parronaud. France/USA, 2007)

•Marked transnationalism
•Subject matter: individual’s relationship with nation state she was born + displacement
•Autobiographical novel made by 1 of the films directors
•Paired up with another director to make film version of the graphic novel
•She is engaged in all kinds of transnational traffic of herself, text, cultural objects + ideas over time


Persepolis (Marjane Satrapi and Vincent Parronaud. France/USA, 2007)

•Result of transnational collaboration: french + american money, made for international audience + personnel from different nations
•French screenplay written + acted in french originally
•Directors created english version of the film – wanted it to speak directly to different audiences + acknowledge transnational status
•English, french, persian – linguistic diversity


Tout Va Bien /All’s Well (Jean-Luc Godard and Jean-Pierre Gorin. France/Italy, 1972)

foregrounding economic situation
lack of frontality
diegetic + nondiegetic sound blending: both film + reality around us constructed
don't know who's speaking
tracking shot: resembles assembly line
outside factory it's still like a factory
capitalism underlies everything


Rio Bravo (Howard Hawks. USA, 1959)

Western, but has Rom Com features
-Hawksian Women: independent, female courting, breaking gender role, talkative, attraction/aversion
mixes genres
threatened by W: integrated/cast out
focus on relationship among M rather than conflict
Comedies: timid, pliable M, emasculated, humiliated


Women on the Verge of a Nervous Breakdown (Pedro Almodóvar. Spain, 1988)

lack of resolution
-mambo taxi: shift in tone
-fast paced betw W
-Pepa constantly changing
-suicide attempt: physical comedy
-social integration
-not conventional closure: lies in integration of W
-frustration with diff betw M + W
-Carlos + Mambo kinda redemptive
-transgression of social norms
-wacky characters
-8 + 1/2 intertextual reference
-Melodrama: tone w take on melodramatic


Camp de Thiaroye (Ousmane Sembène and Thierno Faty Sow. Algeria/Senegal/Tunisia, 1987)

-Pays: tragic figure, fool, PTSD
-Sgt. Diatta: educated, aligned with white, but gets more rebellious
Infantry: not as educated, but has sense of pride
Major: signifier of blind rule, idea of supremacy
Captain Labreux: cruel, patriotic
Captain Raymond: still part of colonialism, but more sympathetic


Camp de Thiaroye (Ousmane Sembène and Thierno Faty Sow. Algeria/Senegal/Tunisia, 1987)

red hats isolate them
music: harmonica + folk music popular in africa
motif of despair + melancholy sound
camera taking stock of group: solidarity + identity
close ups: focus on the idea of individual: focus on each person, get a chance to say their own views
-symmetry of book ends: change in tone, end sense of foreboding


North by Northwest (Alfred Hitchcock. USA, 1959)

-masquerade: Grant always dressed in a certain way
-always pretending to be someone else
-Roger gets lost in masquerade


My Winnipeg (Guy Maddin. Canada, 2007)

-experimental, subjective, not like a doc
-self reflexive
-attention drawn to artificiality
-voice over
-experience more fantastical
-techniques make us see less, silent film elements
-constant reference to surface + what's below - forks, lanes, subconscious
-truth + illusion/myth
-more story of Guy Maddin, no linear path


Persepolis (Marjane Satrapi and Vincent Parronaud. France/USA, 2007)

-themes, alienation, diaspora, idea of home
-drawing attention through style + narrative
-animation: abstracts story + makes it universally accessible, sole focus wasn't just Iran
-allows audience to connect with her
-dislocation: figure disappears, background consumes her
-body floating in black space: divorced from space/place
-subjective perspective