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Filmmaking > Alles > Flashcards

Alles Flashcards

1
Q

Stylistic characteristics of expressionist cinema

A

Nightmarish, anxiety, horror, hypnosis, murders;
Importance of decor and mise-en-scene;
Confusing and high contrast;
Acting codes

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2
Q

Milestones in photography

A

1826 - Niepce: glass metal
1839 - Daguerre: silvereed copperplate
1839 - Talbot: Paper with silvernitrate

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3
Q

Muybridge, who that

A

Inventor of series photographs, like the horse in motion.

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4
Q

Why did they open so late?

A

Safety regulation, cinematograph act that introduced a license system that forced travel shows out of business.

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5
Q

Movements towards new hollywood

A 
Further popularization TV;
Decreasing cinema attendance;
Succes of european arthouse cinema;
Hollywood in crisis;
Counter-culture
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6
Q

Thechnological conditions that allowed film to flourish

A 
Scientific experiments on movement and optical perception;
projection;
photography;
flexbile basis
succesive projection
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7
Q

The main importance of soviet film

A

It’s a case of film and influence of the political, economical, ideological and cultural factors

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8
Q

Peepshow mode VS variety show model

A

Edison VS lumiere brothers. Watching ‘a film’ alone or with other audience

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9
Q

State censorship in Japan, a hella-lot of it

A

From the 1930s onward. By ministry of propaganda, demand for films that showed japans military strength. After pearl harbour even stricter guidelines and quota for producers. Then last the democratization of Japan, censorship by USA. NO glorifying of feudalism, imperialism or militarism.

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10
Q

Big studion 6 Universal

A

Specialized in B-movies, horror and fantasy.

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11
Q

The iconic potemkin step scene

A

Demonize the others, long duration for added drama, ‘story lines’ variation and confusion.

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12
Q

Why the downfall of neorealism?

A

Economic situation, rather unpopular, policy (law adreotti) and internal developments

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13
Q

Narration Potemkin

A

Non traditional, no real protagonist

From different varying perspectives: intelectual montage

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14
Q

characteristics of hollywood/classical films style

A 
narrative linearity;
continuity editing;
cause and effect narration;
identification;
psychological characteristics;
character-led narration
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15
Q

Big Studio 4 20th century fox

A

Strong budget and production control, rather conservative films, many b-movies.

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16
Q

Importnat names in expressionism

A

Fritz lang (metropolis) & Murnau (Nosferatu)

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17
Q

Why criticsm in the 1950s on the france film stystem

A

Film makers like Tati, Cocteau, Ophüls & Bresson showed possibilities for film as a means for personal expression, but:
Criticism on existing mainstream film system
Strongly hierarchical, union… difficult accessibility
No contemporary themes (e.g. youngsters)
Emphasis on producers and scriptwriters

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18
Q

camera stylo

A

personal and self-expressive films that become just as flexible and subtle as written language

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19
Q

Changes in Comdey eith the comming of sound

A

From slapstick and burlesque humor to more bourgeouis verbal comdey. screwball comedy, dialogue comedy.

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20
Q

Characteristics of the brighton school

A

More realism, slice of life;
Action and crime genres;
Narration;
‘Experiments’

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21
Q

Why was the was also high days for hollywood?

A

Support of the government, tax advantages, escapeism

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22
Q

Vertov

A

Formed kinoki, manifest against bourgeois cinema

1929: Man with the movie camera, a tribute to everyday life.

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23
Q

British cinema hat a _____ but ______

A

had a slower start but was very influencial, mainly for the development of narritive cinema. (1902-1908)

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24
Q

Why the move from NYC to Hollywood

A

Light, climate, setting, economic reasons

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25
Q

Kurosawa film ex

A

Rashomon

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26
Q

The inspiration for neorealism

A

French poetic realm, soviet cinema (expressive realism, ideological rather than stylistic) and the documentary tradition

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27
Q

The inventions of Edison (And Dickenson)

A

Phonograph;
Kinetoscope;
Kinetograph

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28
Q

Hollywoond involvement in WW2

A

Directors/actors/technicians in war servie;
Patriorric films, or films against facism;
OWI + BMPA
Ex films: hitchcock lifeboat + Capra’s why we fight

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29
Q

UFA =

A

The Universum Film Aktiengeselshaft.
National subsidized film conglomeration in germany. They did production, distribution and exhibition (and ofcource propaganda). During the weimar republic untill the end of WW2.

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30
Q

1970s, the big three and movie examples

A

Francis Ford Coppola, Godfather
George Lucas, Star Wars
Spielberg, Jaws

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31
Q

Characteristics of weimar cinema (3 influences)

A

Influence of Scandinavian cinema;
Influence on international developments;
Influence of intellectual developments and artistic avant-garde

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32
Q

Cinema as a consequence of

A

Social development;
entertainment;
technological developments

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33
Q

Big studio 5 RKO

A

Smalles one, often took risks, many b-movies and film noir/horror.

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34
Q

Big studio 3 Warner Bros

A

Working class, strict production process, genres were gangster/backstage musical/social realistic drama.

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35
Q

During the 1970s & 1980s new young independent filmmakers, also called _______

A

moviebrats

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36
Q

High concept film

A

A type of artistic work that can be easily pitched with a succinctly stated premise.

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37
Q

Facts about potemkin

A

Comissioned
revolt on the battlehsip potemkin, , joining of the people in Odessa and bloody repression.
Iconic: Steps scene

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38
Q

3 styles in rashomon

A

Here and now: depth focus composition, deserted building and rain.
Lawsuit: Frontal camera, dusty/dry/sun/shadow
Flashback: many close-ups, broken sunlight, action, lively camera

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39
Q

Nature of primitive films

A

Short;
No story, cinema of attractions;
No editing;
Static

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40
Q

Bright school’s first continuity film

A

Rescued by rover, cecil hepworth

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41
Q

Constructivist editing, influence on cinema

A 
Changing the order of editing images.
change original relations of causality, time and space
Autonomous causality
Assembly (express a social idea)
Means for alienation (other meaning)
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42
Q

Reason for the worldwide influence of the french new wave

A

demonstrated that it was possible to make exciting, dynamic and innovating films outside of a established production sytem

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43
Q

Italian cinema before neorealism

A

Mussolini strong state influence, facist control
growing film production and culture;
very diverse: historical drama/comedie/semi-documentary

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44
Q

Blockboosting:

A

forcing exhibitors to rent a studio’s not so popular films alongside the sure box-office seller.

45
Q

Big studio 1 MGM

A

Most prestigous, spectacular entertainment, professionally excellent.

46
Q

New wave characteristics

A 
Young generation French film makers, period 1958-1962;
relatively few means;
against film conventions;
self reflection
young themes
no clear-straightforward style
47
Q

Opening of permanent theathers was from ____ onward

A

1904, nickelodeons

48
Q

Fame potemkin

A

International avant garde, reputation of soviet cinema enlarged, Goebbels glorification

49
Q

When was kabuki film replaced with director filmen which genres emerged?

A
  1. Two broad genres:
    Jidai-geki: a historical film from before 1868
    Gendai-geki: contemporary films
50
Q

Typecasting

A

Individual actors are chosen for their appearance, social types.

51
Q

Big studioo 2 Paramount

A

Most european and sophisticated, emphasis on directors.

52
Q

The problem of succesive projection

A

There was a need for stand still and movement, maltese cross was the solution

53
Q

Melies stylistic characteristics

A 
Static;
Profilmic;
Tableaux cinema;
Fixed 'point of view';
Manipulation space and time;
Fantasy genre
54
Q

important inventions in the first footsteps of projection

A

shadow plays, magic latern, zootroop,

55
Q

The MPPC made diverse agreements about

A

Import, exhibition, only 1 distribution company and film stock, various standards and equipments.

56
Q

Kuleshov

A

Prerevolutionary films, also agitki.

Kuleshov effect

57
Q

Lumiere brothers

A

started with study of kinetoscope;
1895 first private screening;
Primitive film characteristics;
Film ex: factory workers leaving the factory, arrivee d’un train en gare

58
Q

Important directors in the 1930s-1940s

A

Sternberg, Ford, Hawks, Hitchcock, Welles

59
Q

Three times political awakening in potemkin

A

first, awekining of the sailor against abuse. Second, awakening solidarity odessa citizens. Third, Baltic fleet

60
Q

la politique des auteurs

A

describes the position of cahiers du cinema as one that argued the works of favored directors as that of film ‘auteurs’

61
Q

Dismantlement of the studio-machine. How did the labour practices change?

A

Outsourcing;
Creative centralization;
Changing star system (change in salaries, perfomrance capture);
Runaway productions

62
Q

Soviet film under lenin

A

‘Film is important’, agitki, 1919 nationalisation, recovery and more import

63
Q

Vitaphone

A

Designed by western-electric bell labratories. Sound on disc. Warner only one interested, Don Juan

64
Q

What is the societe film d’art

A

prestige to attract middle and higher classes, film ex: l’assassinat du duc de Guise

65
Q

Melies, who

A

Magician at a theathre;
First staged films and actualites filmees;
Trick films;
A trip to the moon!

66
Q

production code administration

A

enforcement of the production code in films, a set of moral guidelines AKA censorship.

67
Q

PMR vs IMR (5)

A 
Theatrical VS verismiltude
Two Dimensional VS Three dimensional
Emphasis on action VS characterisation, depth, psychology
Presentation VS representation
... VS fabula construction
68
Q

western influences on japanese cinema

A

1920s -> naturalism, wester narration: soul on the road (murata)
1930a -> influence expressionism, avant garde group: A page of madness (Kinugasa)

69
Q

Maltese cross =

A

(or Geneva drive) a gear mechanism that translates a continous movement into an intermittent rotary motion.

70
Q

Post war cinema in france, cinema de qualite characteristics

A

hierarchical, literary sources, power of the scriptwriter.

Some ‘auteurs’ Cocteau, Ophüls, Bresson, Tati

71
Q

Challenges of the post war period

A

Crisis, social unrest, economic demands, no more direct governmetn support, strikes.
problems with antitrust legislation

72
Q

Negative aspects of the arriving of sound?

A

Visual story telling of the silent era films dead?
immovable microphone
limited camera movement (because of a soundbooth)
flat lighting

73
Q

Visconti, who?

A

Film obsessione, a blueprint for neorealism. Also ‘La terra trema’ a commisioned by the communist party. Later turning away from neorealism with his own style, as in ‘Death in venice’.

74
Q

Mise-en-scene Potemkin

A

Geomertrical, contrast
Intensive use of light and shadow
Direction of movements

75
Q

Characteristics of new hollywood cinema

A

extend traditions, try new things, update b-movies

Ex film: Bonnie and Clyde (arthur penn) & Carrie (De Palma)

76
Q

Three new wave dudes and film examples

A

Truffaut: the 400 blows
Resnais: Hiroshima mon amour
Godard: Breathless

77
Q

Examples of neorealism film

A

Bicycle thieves, Vittorio de Sica. Peak and internation breakthrough.

78
Q

Controversy potemkin

A

Soviet propaganda,
Brutal images,
Homosexuality?

79
Q

Characteristics ‘life of a fireman’

A

Editing of existing stock + own recordings;

parallel editing

80
Q

Modifying the classical studio style film

A

location filming, long focal length lens, faster and flashier editing, wordless montage scenes with (pop)music and slowmotion

81
Q

Classic film characteristics

A

Descriptive;
chronological;
canonization and tradition of ‘great men’ histtory;
film as art

82
Q

Names in film criticism, france.

A

Astruc (camera stylo) and Bazin

83
Q

Studio system

A

A method of film production and distribution dominated by a small number of big conglomerates

84
Q

Ozu, who

A

Made very similar films. ex: Odyssey, tokyo story.
Themes: lower middle class, traditional japanese culture and clash with modernity.
Style is very consequent, little camera movement from a low position.
Known for empty images.

85
Q

Eisenstein

A

Agitator agit trains
Educated by kuleshov
from theatre to cinema
Film ex: Strike, Potemkin

86
Q

Revisionist film

A 
1970s-1980s;
analytical;
Macro and micro analysis;
De mythologization and decanonization;
non-teleologically;
scientific approach
87
Q

Tendency films

A

socially conscious left leaning films

88
Q

Star system

A

faces (no names!) to the studios

89
Q

The fascination soviet cinema had with editing; editing not only for the development of the story but also:

A

Experiments with image transitions;
Editing as expressive means, intellectual labour;
Grifith as inspirtation.

90
Q

Exapmles of Bright school movies and producers

A

George Smith - Grandma’s reading glass

James Williamson - Big swallow & fire

91
Q

Background neorealism

A

faster revitalization after the war than the rest of europe, resistance against conventional cinema.

92
Q

Change of the cinema audience

A

From diverse to vulgar to bourgeouis

93
Q

Problematic conservation in film due to

A

Nitrate fil;

low commercial value and low cultural status

94
Q

Films of Edwin S porter

A

Life of an american fireman, the great train robbery

95
Q

mumblecore

A

a subgenre of independent film characterized by low budget production values and amateur actors, heavily focused on naturalistic dialogue

96
Q

Cahiers du cinema

A

A young generation of critics against cinema de pappa. Film as an art form, more mise-en-scene (against editing).

97
Q

Characterustics of ‘the great train robbery’

A

Creation of space depth;
Camera angle no longer frontal;
camera movement, panning;

98
Q

Why the decline of Melies?

A

too much repetition, audience got tired of tableaux cinema. Also competition of the narrativre film and Pathe.

99
Q

Production of america was smaller because (around 1907)

A

Chaos in patent struggle;
copyright issues;
piracy;
harsh competition from big conglomerates;
attacks by political and religous reformers

100
Q

The evolvement of a flexible basis

A

Photos were immovable, they needed a flexible basis for film. First celluloid and the Kodak ‘the roll’.

101
Q

Characteristics of german expressionist cinema, plus an example (4)

A

Very diverse;
Resistant against bourgeois art, codes of representation and realism;
From 1919-1924;
Ex: Das Kabinet des Dr Caligari (Wiene)

102
Q

Earliest japanese cinema

A

Longer primitive period
Kabuki conventions became film conventions
Benshi important role, narration also alongside film

103
Q

Kinematoscope

A

a device that showed movement through sucession of images, shown as recurring series in a drum-like instrument

104
Q

MPPC =

A

Motion picture patent company, led by Edison. 16 actors to maintain dominant position.

105
Q

4 issues in studying film history

A

Canonization
Selection
eurocentrism
accesability

106
Q

Kammerspielfilm

A

a type of German film that offers an intimate, cinematic portrait of lower middle class life

107
Q

Precursors in film were

A

Muybridge, Marey (chronophotagraphy), reynaud (prxinoscope)

108
Q

The succes of Rashomon

A

Golden lion in venice, Start internationalization Japanese cinema

109
Q

Stylistic characteristics neorealism

A

Emphasis on the ordinary, simplicity, social realities, pverty and pessimism. Often non professional actors and open endings.

Filmmaking (1 decks)

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