PAPER 1 Flashcards
(22 cards)
INTRODUCTION: AUTEUR
> Theory was established in France shortly after WW2, once France had regained access to Hollywood cinema.
> 1962, American critic, Andrew Sarris published theory
> demonstrates: technical competence, personal style, interior meaning.
> Many disagreed, Pauline Kael -many people are involved in the production of a film, theory just ‘predicts’ their next films.
> Both Curtiz and Forman can arguably be seen as auteurs.
> Curtiz personal style = expressionistic lighting, every shot = art.
> Forman’s realism captures the attention of the audience
TECHINICAL COMPETENCE – CURTIZ:
> created the dolly shot. Allows Curtiz to move camera, while still creating smooth horizontal camera shots.
> audience to remain immersed in the diegisis of the film, allowing them to acknowledge the verisimilitude of the film.
> In Casablance (Curtiz, 1942) Curtiz uses the dolly shot to capture a plane flying overhead.
> adds a secondry camera movement, panning from the plane to people waiting to flee, returning to the original dolly shot.
> depicts the volume of people wanting to leave Africa, creating peace achieve by fleeing, contradicting war.
> ‘Charge of The Light Brigade’ the horses jumping over the camera, before following them into war.
TECHINICAL COMPETENCE – FORMAN:
> use of lighting in OFOTCN (Forman, 1975)
> shot on location, at a mental hospital in Pheonix due to his low budgets, unlike in-house sound stages.
> shot in the early months of the year at specific times of day, create a dim, bleak, grey, ambient light = prison-like atmosphere the inmates endure.
> more clinical look used strip white overhead lighting, hard white walls + floors intensified this.
> inescapable white, bleached surroundings highlight a lifelessness that McMurphy, being the epitome of vitality and life disrupts.
PERSONAL STYLE – CURTIZ:
> expressionistic lighting = personal style + makes him a distinct auteur.
> learnt expressionistic lighting in Hungary, uses deep dark areas of shadow to build atmosphere.
> uses low key lighting to highlight his absence from their relationship.
> Curtiz uses lighting to speak emotions the characters can’t express through dialogue.
> “puts as much art into cinema the audience can stand.”
> Robinhood (1938) creating an action sequence through the use of shadow and silhouette.
PERSONAL STYLE – FORMAN:
> realism = personal style, distinct factor in work.
> cast = most important component for his realism.
> didn’t want to distract by big stars, vs Warner Brothers seven year contracts with star actors.
> In ‘group therapy’ sessions = frequently used shot-reverse-shot between Nurse Ratched and McMurphy as their discussions got heated.
> Inset shots, extreme close ups = other patients, focus on their eyes and mouths, = particular expressive features.
> scared to speak, in front of Nurse Ratched or illness, like Chief, = expression spoke for them.
> feel as if we were there too, documentary feel due to cinema verite style.
> messages clearly communicated = how mental illness is often stigmatized.+ the importance of intellectual freedom and sexual freedom.
INTERIOR MEANING – CURTIZ:
> Similarly, both Curtiz and Forman use interior meaning through their protagonist.
> Rick = probably America’s first rebel hero.
> first scene = Rick sat alone playing chess = both strategic and isolated.
> shot at a medium close up at eye level = connect with Rick.
> Rick represented America entering WW2, = prototype for a new kind of America.
> final scene = aware of Rick’s heroic traits, doesn’t give into Isla’s pleas.
> Rick helped boost the morale of many Americans = propaganda, but he became a heroic figure to many.
INTERIOR MEANING – FORMAN:
> McMurphy = anti-hero - expresses anti-establishment ideology.
> Forman lived in Czech Republic before emigrating to America due to Russia’s take over.
> “I lived twice in tortalian societities.” understood why people rebel.
> ‘Amadeus’ follows the rebelling nature of music.
> Nurse Ratched + Mcmurphey’s represents Forman’s time in Czech Republic and the oppression he faced.
> Nurse Ratched = Russia, trying to take control and condone maltreatment.
> Mcmurphey = the people who want to fight back, but couldn’t due to his ‘medication’ which is similar to political oppression.
> relationship is rich, but complex. Mcmurphey is the only person to see his fellow inmates as people not patients. At times Mcmurphey makes us uncomfortable.
> first scene we meet Mcmurphey he’s being brought into the hospital, being inprisoned for sexually assaulting an underage girl.
> comes in the hospital gleefuly laughing before turning and kissing the guard. Forman didn’t tell the guard Nicholson was going to kiss him,to capture his raw reaction, = realism.
CONCLUSION:
> both Curtiz and Forman can be seen as an auteur.
> Curtiz made over 140 films across genres at Warner Bro’s = versatility of his work,
> Forman OFOTCN = Fantasy Film, a low budget production.cinema verite style style, = realism. carefully picking the correct camera shots and specific lighting.
CONTEXT: INTRO
> majority mainstream films in 1940’s + 1950’s were produced by the Big 5 studios.
> like Warner Brothers = tied stars to long term contracts = had to comply to strict censorship due to the Hays Code.
> confined in creativity, reproducing world location on in-house sound stages.
> films from this period such as Casablanca (Curtiz, 1942) could look stylised and conventionalised due to the conservative time.
> New Hollywood took their camera out on location, producing a more naturalistic and realistic look and feel to their films, like Bonnie and Clyde (Penn, 1967)
> also Warner Brothers film = allowed more freedom for creativity, which included more adult scenes of a violent and sexual nature, after the overhaul of the censorship system.
CONTEXT: CUTIZ PARA 1
> ‘gun scene’ = power imbalance between the two genders, typical for the Classical era.
> Ilsa should have the power as she draws a gun,= insert shot. gun pointed at Rick, threaten to shoot if no exit visas.
> medium close up = Rick unafraid appears to step forward to ‘make it easier’ for her.
> Ilsa’s bravery crumbles = dissolves into tears. high key lighting, capture Ilsa in a close up tear glistens down her cheek = accentuated by the light. she falls into Rick’s arms sequence of quick cuts = emotional expressions.
> now upset,= still presented as an idealistic Classical Hollywood female = flawless beauty + modest clothing, = typical convention for time.
> Yet she is clearly the emotional, dependent stereotypical female in this moment.
CONTEXT: PENN PARA 2
> Bonnie and Clyde = series of shot-reverse-shots and over the shoulder shots, Bonnie = sexually aggressive + more powerful in most scenes with Clyde.
> ‘coca-cola scene’ = power starts with Clyde- owns a gun, shows off to Bonnie= insert shot.
> Rather than being nervous / scared = expect of a Classical Hollywood character- see her excitement in a high angle close up.
> thrill= violence Clyde brings into her world, + the sexual excitement she feels = close up of her caressing the gun,
> more modern female, liberated ideas + values = Women’s Liberation Movement of the late 1960’s.
CONTEXT: CURTIZ PARA 3
> Ingrid Bergman = leading actress of the time; audiences idolised + reverd these star actresses,= influenced evolve of style
> market scene = Ilsa’a elegance + power = reinforced. Her power = shopkeeper keeps lowering the price for her = not easily fooled.
> Ilsa looks angelic = modest clothing, = her arms showing, = meeting the institution’s expectations from the Hays Code,= screen ‘Godess’.
> Both her hair + make-up enhance her features, = flawless + glamorous = NO distracting.
> Curtiz, once again uses high key lighting on Ilsa to reinforce her angelic look.
CONTEXT: CURTIZ PARA 4
> Ingrid Bergman = leading actress of the time; audiences idolised + reverd these star actresses,= influenced evolve of style
> market scene = Ilsa’a elegance + power = reinforced. Her power = shopkeeper keeps lowering the price for her = not easily fooled.
> Ilsa looks angelic = modest clothing, = her arms showing, = meeting the institution’s expectations from the Hays Code,= screen ‘Godess’.
> Both her hair + make-up enhance her features, = flawless + glamorous = NO distracting.
> Curtiz, once again uses high key lighting on Ilsa to reinforce her angelic look.
CONTEXT: CONCLUSION
> Classical Hollywood was ran by the Big 5 + creativity was inhibited by the Hays code.
> New Hollywood rejected the Hays code + allowed free creativity over their productions.
BRITISH FILM - THIS IS ENGLAND (PT.1)
> This is England (Meadows, 2006) is a warp production film,
> set in the north of England in the 80’s.
> social realist film following protagonist, 12-year-old Shaun who navigate his life.
> Margaret Thatcher was prime minister: declared Falklands was to be a priority closed mines up and down the country.
> neoliberal agenda fell on the shoulders of the working class.
> applying a political ideological lens to the film = understand the character of Shaun.
BRITISH FILM - THIS IS ENGLAND (PT.2)
> political ideological lens =. useful examining Shaun’s position in society.
> camera fades to Shaun’s bedroom. photo frame sits centre frame = a man in uniform = significant figure in Shaun’s life.
> photo on top of a radio, diegetically plays Margret Thatcher speaking Fawklands war.
> two elements = figure is fighting at the Fawklands war. radios +. photograph on an old, varnished, chair = side table.
> paint on the walls is chipped + dull, = the whole colour scheme of the room.
> Shaun = working class background = victim to Thatcher’s neoliberal agenda.
> camera slowly zooms out revealing our protagonist Shaun = looking at the man in the photograph, witness connection = significant figure in his life, possibly being his dad.
> opening scene = Shaun’s equilibrium of being vulnerable, alone, and working class; sets key themes in which his character is used to reveal + critique societal issues.
BRITISH FILM - THIS IS ENGLAND (PT.3)
> After fight at school, = Shaun meets Woody = start of Shaun’s character arc, = search for a new family unit, (own family have been compromised by the intrusion of Thatchers war)
> Woody skinhead, introduces Shaun into community = family.
> Shaun intro to Combo = antagonist of the film.
> Combo and Shaun meet = racist story, close ups are used on Combo to accentuate his exaggerated facial expressions.
> cutaways used = everyone’s reaction to the story = predominately disgust.
> a long shot = Combo aiming story at Milky, only black person = foreshadowing later events.
> Combo’s racist ideology + its impact on Shaun = central films narrative.
> An ideological analysis = film critiques racism + the disparity that arises between those directly impacted by the governments negligence of the working class.
BRITISH FILM - THIS IS ENGLAND (PT.4)
> Shaun’s initial embrace of the gang + violent racist views = nationalism and how it can be weaponised.
> Combo gifts Shaun the St. George’s flag,= white nationalist movement.
> film critiques = destructive consequences of such ideologies through Combo’s violent attack on Milky,
> close ups of Shaun = fear, begging Combo to stop, = thrown out.
> Shaun rejects their ideologies, = symbolism of Shaun throwing St. George’s flag into sea.
> ideological framework = understand the films deeper meaning = Shaun creates new equilibrium becoming a binary opposite of Combo’s.
BRITISH FILM - TRAINSPOTTING (PT.1)
> Trainspotting (Boyle, 1996) = channel 4 production of Irvine Welsh’s book.
> set in Glasgow, following a group of heroin addicts who are marginalised by society.
> hyper realism = depict all stages of drug use, from injection to withdrawals.
> Andrew Macdonald expressed they “wanted to show why people took drugs.”
> During this time there was high rates of unemployment, once again due to Margaret Thatchers neoliberal agenda.
> heroin = cheap to buy,= alternative to a depressing life inflicted by the government
> our protagonist Renton is an unreliable narrator.
BRITISH FILM - TRAINSPOTTING (PT.2)
> opening scene,= ideological analysis = audience is positioned initially encouraging them to align with Renton’s anti-establishment ideology.
> Renton and Spud running down princess street in Glasgow; camera starts at ground level, revealing they have little to no morals, as the camera moves up it shows cd’s flying out of their pockets.
> Iggy Pops ‘Lust for Life’ is playing non-diegetically, fast paced tempo = rush of adrenaline that drugs fuel.
> Rentons famous opening monologue = films exploration of drug culture, youth rebellion, and the rejection of social constructs.
> Renton’s statement “why choose life when you can choose heroin” = hedonistic views + iconoclastic mentality.
> opening scene establishes Renton’s equilibrium as a heroin addict.
BRITISH FILM - TRAINSPOTTING (PT.3)
> Renton’s journey + portrayal of drug culture = critique of society’s failure to provided opportunities = support for marginalized individuals.
> binary opposites- football match. Renton’s team = mismatched dirty uniform, = the distorting effects of drugs. Opposition = clean, matching uniforms, = sober life.
> ideological analysis = exploration of themes of poverty, alienation, and the search of belonging.
BRITISH FILM - TRAINSPOTTING (PT.4)
> Renton’s journey = experiences the consequences of his drug use, = abandon his former life, + seek a new one in London.
> Renton leaving the circular room with the bag of drug money,= him breaking the cycle, + choosing to have a fresh start.
> Estabilising shot Renton crossing a bridge= him crossing into a new sober life, having a new equilibrium, rejects old nihilistic attitude
> monologue “I choose life.” An ideological analysis = how narrative structure allows the audience to undergo a similar moral awakening and to question Renton’s initial radical stance.
