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Cinema Studies > CIN201 > Flashcards

CIN201 Flashcards

1
Q

Sound Tech

A

Sound on disc - Vitaphone
Sound on film - RCA Photophone, Fox Movietone
M (Fritz Lang, Germany, 1931)

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2
Q

1920s Film

A

The Jazz Singer
The Masses
Siegfried Kracauer

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3
Q

Studios and Terms

A

Vertical Integration
Majors - MGM, Paramount, Warners, 20th Century Fox, RKO
Minors - Columbia, Universal, United Artists
Republic Studios - Westerns

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4
Q

Exhibition

A

Production Code Administration/Hays Office
A vs B Pictures
Irving Thalberg
Block Booking
Blind Bidding
Run-Zone Clearance System - films go to secondary mkts by zone after first run in major theatres

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5
Q

The consent decree

A

Paramount decision 1948 - anti-trust
1940 - restrict block booking to 5 films then anti-trust would not proceed.

Merrily We Go to Hell (Dorothy Arzner, U.S., 1933)

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6
Q

German Cinema

A

Joseph Goebbels

Triumph of the Will (1935)

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7
Q

Russian Cinema

A

Socialist Realism - declared in writers conference 1934
Boris Shumyatsky - Soyuzkino
Chapayev (1934)

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8
Q

British Cinema

A

John Grierson
oTalents of EMB finances Grierson first film, Drifters 1929
oModernist experimental style as opposed to Russian Socialist Realism
oFilm premiers at Film Society double bill with BP

Empire Marketing Board
Kitchen Sink Realism
Colonial Film Unit
Information Films of India
49th Parallel (1941)
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9
Q

French Cinema

A

Jean Gabin
Jean Renoir
Poetic Realism

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10
Q

Italian Cinema

A 
Luigi Freddi
White Telephone films
Cine it’s
Neorealism
Roberto Rossellini
Cesar’s Zavattini
Andre Bazin
Cinecitta
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11
Q

Mexican Cinema

A

Gabriel Figueroa

Free Cinema

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12
Q

South Asian Cinema

A

Imagined Community
Temples of the future
- Nehru’s vision for bldg infrastructure to support India
Mother India (Meboob Khan 1957) - Social Realist
Rasasutra - organizing emotional states
Raj Kapoor - showman of India/ The Vagabond (1951)
Satyajit Ray - Pather Panchali (1955)

Andrew Higson
Economic : film industry, processes of production, distribution, exhibition, financing, etc.
Textual : narratives, style, world-view, themes.
What kind of national character do films project?
How do they explore, question, and construct nationhood?
Exhibition/Consumption : what films audiences watch, how they understand and use them. Includes attention to larger cinematic culture, including the presence and impact of foreign films.
Criticism : focus on the formation of canons and the exercise of taste Critics tend to emphasize the nation’s art cinema, which becomes synonymous with national cinema. This selection happens both within the nation and internationally (e.g. via film festivals)

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13
Q

End of Hollywood Studio System

A 
The Paramount Case
MCA
Lew Wasserman
Technicolor
Cine Rama
CinemaScope
Bwana Devil (1952)
Desilu
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14
Q

French New Wave

A 
Brigitte Bardot
Agnes Varda
Jean-Luc Goddard
Francois Truffaut
Claude Chabrol
Bertold Brecht
Cahier du Cinema
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15
Q

The Transition to Sound and Technology’s Role in History

A

M (Fritz Lang, Germany, 1931, 111m);
The Jazz Singer (Alan Crosland, U.S., 1927)
[trailer] Steamboat Willie (Walt Disney, U.S., 1928, 7min)

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16
Q

The Hollywood Studio System and the Production Code

A

Merrily We Go to Hell (Dorothy Arzner, U.S., 1933)

Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility [Second Version, 1935-1936]

17
Q

Culture Industries: Entertainment, Propaganda, and Ideology

A

Sullivan’s Travels (Preston Sturges, U.S., Paramount, 1941)
Why We Fight: Prelude to War (Frank Capra, U.S., 1942, 53m); V for Victory (Norman McLaren, Canada, 1941, 2m);
Triumph of the Will (Leni Riefenstahl, Germany, 1934) [excerpt] Chapayev (Sergei and Georgy Vasiliev, USSR, 1934) [excerpt]

18
Q

British Documentary and the Creative Treatment of Actuality

A

Industrial Britain (Paul Flaherty, 1931, 22m);
The Song of Ceylon (Basil Wright, 1934, 38m);
The Birth of the Robot (Len Lye, 1935, 6m);
Coal Face (Alberto Cavalcanti, 1935, 12m);
The Face of Britain (Paul Rotha, 1935, 18m);
Rainbow Dance (Len Lye, 1936, 4m);
Night Mail (Harry Watt and Basil Wright, 1936, 26m);
People of Britain (Paul Rotha, 1936, 3m)

19
Q

French Realism and André Bazin’s History of Film Style

A

Poetic Realism

  • Aesthetics style
  • Dark themes expressed in darkly poetic ways
  • Grim films
  • Lyrical ways that the everyday is shown

La Grande Illusion/Grand Illusion (Jean Renoir, France, 1937)

20
Q

Italian Neorealism: Realism After War and Liberation

A

Ladri de Biciclette/Bicycle Thieves (Vittorio de Sica, Italy, 1949)

Cesare Zavattini, “A Thesis on Neo-Realism” (1952)
André Bazin, “Cinematic Realism and the Italian School of the Liberation”

21
Q

Postwar Japan and Modernist Challenges to Realism

A

Rashomon (Akira Kurosawa, Japan, 1950)

David Bordwell, “The Art Cinema as a Mode of Film Practice” (1979)

22
Q

Authorship and International Art Cinema

A 
Los  Olvidados  (Luis  Buñuel, Mexico, 1950, 81m); 
María  Candelaria  /  Xochimilco  (Emilio  Fernández, Mexico, 1943)

Andrew Sarris, “Notes on the Auteur Theory in 1962

23
Q

British Cinema at the End of Empire

A 
Indian  Background  (w. John  Sommerfield, e. Sylvia  Cummins,  Central  Office  of Information  (UK), 1946, 10m) 
Bassein:  An  Indian  Fishing  Village  (d. Krishna  Gopal, e. Alex  Camp

Black Narcissus (Michael Powell and Emeric Pressburger, UK, 1947

Andrew Higson, “The Concept of National Cinema,” (1989)

24
Q

Post-Colonial Indian Cinemas

A 
Pather  Panchali  (Satyajit Ray, India, 1955)
 - Bengali director , inspired by Bicycle Theives (Vittorio De Sica 1948).

Satyajit Ray, “What is Wrong with Indian Films?” (1948)
- too much Hollywood.

Raj Kapoor

  • Hindi Director of film
  • Rasasutra - aesthetic essence of life, makes soul come alive
  • Charlie Chaplin vamping
25
Q

The End of the Hollywood Studio Era

A

CinemaScope - Differentiation
major game-changer, developed in 1953 using anamorphic lens, thus no need for elaborate changes to shooting or projection • First feature: The Robe (1953)
Cinerama:
- major post-WWII effort: Cinerama • 3-camera/3-projector
- system with curved screen
- Premieres in 1952 with This is Cinerama!
- First narrative: How the West was Won (1962)
Bwana Devil (1952) - 3D film
Desilu
- I Love Lucy” / Desilu company starts trend in 1951 with Lucile Ball’s decision to shoot in Culver City and make “telefilms”

Bigger than Life (Nicholas Ray, U.S., 1956, 95m)
I Love Lucy “Lucy Does a TV Commercial” (Marc Daniels, 5/5/1952, 25min)
Scary Time (Shirley Clark, U.S., 1959, 16m)

26
Q

The French New Wave

A

The French New Wave
Les Mistons/The Brats (François Truffaut, France, 1957, 18m);
Cléo de 5 à 7 / Cleo from 5 to 7 (Agnès Varda, France, 1962, 90m);
A Bout de souffle/Breathless (Jean-Luc Godard, France, 1960)

Cinema Studies (3 decks)

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