Essay Questions Flashcards
In full sentences, describe three key features of Kenji Mizoguchi’s filmmaking. You do not need to provide examples. (6 points)
- Staging and framing to keep scenes at the distance
- Long takes and camera movement (fewer than 125 shots in
Sister of the Gion) - Distinct themes, such as the plight of women in Japanese
society
Describe three key features of French Poetic Realism, using specific examples from Port of Shadows. (9 points)
French Poetic Realism replaced a cinema of events with one of language, milieu, and people; examples from Port of Shadows:
- Language - Very poetic language was used.
“What could be simpler than a tree?” “A tree. But when I paint
one, it sets everyone on edge. It’s because there’s someone
or something hidden behind that tree. I can’t help painting
what’s hidden behind things. To me a swimmer is already a
drowned man.” - Milieu - emphasis on surroundings and mise-en-scene to
create a feeling rather than having it in the story itself.
In the film Port of Shadows there is a dark look to it and the
shots are all very misty. - Characters - the characters in these films tend to be heading
towards doom and are very melancholy. The protagonist in
port of shadows is a military deserter looking to escape the
country to find a better life. He has a very defeated look to
him.
In full sentences, describe three key features of Jean Renoir’s filmmaking. You do not need to provide examples. (6 points)
Three key features of Jean Renoir’s filmmaking are:
- Humanism: Renoir emphasized the complexity and dignity of
human relationships, portraying characters with empathy and
avoiding simplistic moral judgments. - Long Takes and Deep Focus: He used long takes and deep
focus cinematography to create fluid, naturalistic scenes,
allowing characters and their environment to coexist
dynamically. - Fluid Camera Movement: Renoir’s use of moving cameras
enhanced the sense of spatial and emotional depth,
seamlessly integrating characters within their surroundings
and narrative arcs.
Complexity of the character relations and the plot emphasized by deep focus cinematography, staging on multiple planes, long takes, and camera movement
Describe three ways that Ashes and Diamonds breaks from the model of socialist realist filmmaking, using specific examples from the film. (9 points)
Ambiguous Protagonist: Socialist Realist films typically depict idealized, heroic figures advancing the collective good. In contrast, the protagonist, Maciek, is a flawed, reluctant antihero—a resistance fighter torn between his duty to assassinate a Communist leader and his personal desires. His moral ambiguity challenges the clear-cut heroism of Socialist Realism.
Complex Themes and Tone: Socialist Realism prioritizes straightforward, optimistic narratives that align with state ideology. Ashes and Diamonds explores existential questions, moral uncertainty, and personal tragedy. For instance, Maciek’s romance with Krystyna reflects a fleeting desire for normalcy amidst chaos, adding emotional depth rather than ideological clarity.
Stylistic Innovation: Unlike the clear, didactic visuals of Socialist Realism, Wajda employs striking, symbolic imagery. The famous scene of Maciek’s death in a garbage heap visually contrasts his romanticized rebel image, highlighting the futility of his struggle. The film’s chiaroscuro lighting and expressive cinematography evoke a more personal and artistic approach than state-mandated styles.
Describe the eight formal traits of Italian Neorealism described in the textbook and class, discussing both style and storytelling. (These eight include the five “breaks from classical narrative”.) For four of those eight formal features, be sure to give a specific example.
- Location shooting with post dubbing.
- Mix of actors and non-actors.
- Coincidence
- Ellipses
- Open Endings
- Episodic stories
- Microactions
- Extreme mixtures of Tone