film exam 1 Flashcards

1
Q

Vertical Integration

A

Ownership of all phases o pre-production, production, and exhibition

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2
Q

economies of Scales

A
  • making the most out of the facilities, methods, and personnel in order to produce high volume of cost effective films
  • resulted in high level of professionalism
  • in house training and development
  • long term contract employment
  • studio owned theater houses (opulent)
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3
Q

The Financial-Creative tension and balance

A
  • many of the movies were financed in New York and filmed in Hollywood
  • there was some creative freedom because of this. However, there was always an effort to find a balance
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4
Q

The Golden Age of the Studio System

A
  • 1927-1948 until Paramount Decision and TV expansion ended it.
  • unique era when cultural, economic, and technological currents coalesced.
  • profitability: studio produced 60% of all films and collected 95% of revenues
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5
Q

1939: The year of Genius within the system

A
  • the year when artistic excellence occured

ex: Gone with the Wind, The Wizard of Oz, Of Mice and Men, etc..

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6
Q

The Big Five Studios

A
  • Paramount
  • RKO
  • MGM
  • Warners
  • 20th Century Fox
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7
Q

The Little Three Studios

A

Little because they didn’t own many or any theaters

  • United Artist (essentially a distribution company)
  • Columbia (didn’t own theaters, so continued to be profitable even in the slow years)
  • Universal
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8
Q

Limitations of the Studio System

A
  • not able to produce large expensive movies, because they would place too much demand on resources of tightly scheduled studios
  • also, not able to do really low budget movies, because they were not worth the effort considering the return on investment
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9
Q

Adolf Zukor

A
  • head of Paramount Pictures

- credited for the star system, block booking, and a higher artistic and cultural aspiration than box office alone

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10
Q

Block Booking

A
  • When selling films to independent and other studio theaters, Zukor sold the rights to A level films with stars along with B level films in order to ensure that all movies were seen
  • this began to cause resentment within the theaters and independent community
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11
Q

The Contemporary Big Six Studios

A
  • Paramount
  • Time Warner
  • Disney
  • Sony
  • Universal
  • Twentieth Century Fox
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12
Q

Studio Identity and artistic brand

A
  • Paramount: Glamour-European-exotic. (comedies, epics, musicals)
  • RKO: Musicals, women’s films (literary adaptations, horror, series)
  • MGM: Glamour-Taste-European (comedies, musicals, adventure, literary classics)
  • Warners: stories from headlines (gangster, women’s films, adventures, musicals)
  • 20th Century Fox: biographies, novel adaptations (westerns, film noires), introduced widescreen cinemascope and was quite innovative
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13
Q

The Star System

A
  • Creation and Development
  • Promotion
  • Exploitation
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14
Q

The Importance of a Star

A

For the audience, a major star insured the film would be predictably entertaining and have the highest production values

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15
Q

The Star System (Cont.)

A
  • Actors typically signed 5-7 year contracts with a 6 month option should it not work out
  • they would be trained, developed, and assigned to pictures for the best exploitation
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16
Q

The System of Genre

A
- films identifiable through their use of conventions
included:
-narrative formulas
-characters
-setting
-iconography
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17
Q

Role of Genres

A
  • to formulate a model for future production
  • to build audiences for particular genres
  • to produce minor variations on the model and thereby retain audiences who expect similar but slightly different movies
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18
Q

Major Genres

A
  • Drama
  • Historical Epics
  • Westerns
  • Crime films
  • Musicals
  • Comedies
  • Adventures
  • War
  • Horror
  • Science Fiction
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19
Q

The artistic attractions of genre

A
  • Directorial training and growth
  • exploration of plot, character, and theme
  • technical and stylistic challenges
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20
Q

Stages of Genre

A
  • Primitive
  • Classical
  • Revisionist
  • Parodic
21
Q

Stages of Westerns

A
  • Primitive: (The Great Train Robbery)
  • Classic: (Stagecoach)
  • Revisionist: (High Noon)
  • Parodic: (Blazing Saddles)
22
Q

Reasons for collapse of the Studio System

A
  • The Paramount Decision of 1948
  • Television
  • Family life and free time after WWII
  • Growing independence of stars like Jimmy Stewart
  • Studio Overhead costs (real estate was worth more than the value of yearly product)
23
Q

Achievements of the Studio System

A
  • established the essential technical and creative methods for filmmaking
  • refined the jobs and various craft personnel for guilds
  • developed system through which films were released, distributed, and exhibited
  • produced films that had global influence
24
Q

What to look for in Studio Era Screenings

A
  • Genre
  • Realism - Classicism - Formalism
  • Mood
  • Setting
  • Actors
25
The Legacy of the Studio System
- Systemized industrial model of production - continuing importance of stars and genres - continuing influence on distribution - continuing world-wide influence on international cinemas
26
The Production Code
- first introduced by the motion picture producers and distributors association - regulated the moral content of films - self-regulation was an attempt to discourage government imposing legal restrictions to film content - formally institutionalized in 1930
27
The Great Train Robbery (Edwin Porter)
- realized shot was fundamental unit of film, not scene - 14 shots, 12 min film - dealt with spatial and temporal issues - crosscutting between actions in different places - overlapping shots - pans and tilts - close up at end - in-camera compositing - frame by frame color tinting - camera on moving train - depth and space utilization for exterior shots - stage bound acting on painted interior sets - realistic acting on most of the exteriors
28
A Trip to the Moon (Georges Melies)
- made theatrical techniques cinematic through editing, optical tricks, and set design - utilized the concept of screen vs. real time - 30 scenes (did not make distinction between shots and scenes) - dissolve used to indicate passing of time - superimposition - time-lapse photography - filmic art direction - lighting effects - stage bound acting and depended on 2 dimensional prscenium
29
Goals of Artist
- taking elements of the quotidian world and rearrange them in a form that creates new meaning - to create unity among disparate objects - to create an expressive work greater than the sum of its parts - to constantly question the assumptions of the first three. challenging conformity and assumptions in the world
30
The three arts of film art
- Narrative - Drama - Cinematography (photography)
31
Great Art
- includes a singular experience unlike any other | - includes an other worldly strangeness
32
Kinds of films
- narrative features - television - shorts - documentaries - animated films - experimental films - instructional films
33
Elements of Film
- Screenplay - Direction - Cinematography - production design - editing - sound - performance
34
Shot
- a single uninterrupted film event
35
Scene
- action that takes place in a single location
36
Sequence
- a series of scenes connected by a unity of time or place. Unlike a shot, which can stand on its own, scenes and sequences can be edited
37
Take
- a shot defined by its length , long or short.
38
Shot size
- long shot - medium shot - close-up
39
Camera angles
- level angle - low angle - high angle - angle + angle - dutch tilt
40
Camera movement
- pan - tilt - dolly-track and crab - crane or boom up and down
41
Historical tendencies of film art
- Realism - Classicism - Formalism - Montage vs Mis en scene - Invisibility vs Self Reflexivity
42
Realism
- emphasizes documentary truth with minimal manipulation - illusion of objective photographic world is maintained ex. The Edison and Lumiere films
43
Formalism | -
- emphasizes abstract truth through image manipulation - filmmaker expresses spiritual, intellectual, and psychological truths ex. Geoges Melies "A trip to the moon"
44
Classicism
- style that merges realism and formalism | - dominant style in Hollywood films
45
Montage
- places importance on the way the shots are cut together to create meaning - creation through editing - more suited for formalism
46
Mise-en-scene
- french for "putting on the scene" - meaning created through elements in the scene rather than editing - usually emphasizes long takes, careful blocking of actors, performance, costumes, production design, and elaborate camera movements. - more suited for realism
47
Invisibility
- the goal here is to hide from the audience the techniques of filmmaking process - the illusion is maintained
48
Self-Reflexivity
- wants to emphasize the artificiality of the filmmaking process to create distance between film and audience
49
Important early films and filmmakers
- Le Prince: Roundhay Garden Scene - William Dickson: Fred Ott's Sneeze, earliest complete film - August and Louis Lumiere: Arrival of a train at La Ciotat, straight documentation, simple technique - Alice Guy Blache: La Fee au Choux (the cabbage fairy) probably the first narrative fiction - Edwin Porter: The Great Train Robbery, parallel editing between two events, camera pans, copositing, real locations, camera on train, close up - Georges Melies: Trip to the Moon, first sci-fi film, special effects, animation, stop motion, real time effects onto set design, no camera movement, theatrical staging and acting.