Movies Flashcards
1
Q
Living in Oblivion (Tom DiCillo. USA, 1995)
A
- waking up as transition betw. 3 parts, parallelism
- colour: distinction betw. film + film within
- b&w to distinguish parts
- repetition of dreams + multiple takes
- slate: visual motif (element is significant in repetition
- variation in diff. errors
- challenge in filmmaking (explicit)
- challenge in indie filmmaking outside Hollywood (referential)
- stakes of creative choices (implicit)
- nature of artistic collaboration
- part 1+2: restricted, objective, part 3: objective+unrestricted
2
Q
In the Mood for Love (Wong Kar-wai. Hong Kong/France, 2000)
A
- uncommunicative
- don’t show their spouses
- lacks closure
- let go of his secret=new equilibrium
- development of relationship=taxi
- diner scene equilib.-disequilibrium
- disequilibrium in figuring out how their spouses had an affair
3
Q
Citizen Kane (Orson Welles. USA, 1941)
A
- signing scene: parents on opposite ends, Kane in the middle, mom is in charge (in foreground, largest figure)
- nondiegetic music, hushed noise, shoes klick klack, groan by door, echoes, march like music=large institutionalized, cold, reverential: reflects character
- Kane+Susan: incompatible pitches, loudness, timbre: reflects harsh contrast
4
Q
Play Time (Jacques Tati. France/Italy, 1967)
A
- monotomy (uniform), rigidity, conformity
- lack of privacy/transparancy
- glass as a barrier, lack of connection, modernity, distance us
- grey: dull (monochromatic colour palette)
- all cities are the same (buildings)
- some furniture, straight right angled
- party: more colour, liveliness, more music, more movement
- breakdown, chaotic
- still crazy in drugstore
- modern tech breakdown=freedom
5
Q
Y tu mamá también (Alfonso Cuarón. Mexico, 2001)
A
- communicative voice over
- uncommunicative: weren’t told about Louisa’s cancer
- non diegetic voice over=self-conscious narration
- pan to something else during narration
- omniscient, unrestricted narration
- handheld: spontaneous, looseness reflected by their lifestyle
- distracted gaze: world outside of them, provides context
- socioeconomic comments
- end scene: rigid, MLS-MCU, structured, tension, fact that their relationship is over
- informal + intimate-seperation
6
Q
Do the Right Thing (Spike Lee. USA, 1989)
A
- unrestricted: greater knowledge than character=suspense
- discontinuous editing-racial slurs
- match on action in diner scene
7
Q
A Man Escaped (Robert Bresson. France, 1956)
A
- restricted: deliberately limits knowledge to character-surprise
- communicative: tells us what he is doing as he is doing it, but restricted
- external, non simultaneous (past tense), not much dialogue
- german’s not subtitled
- voiceover narrative (objective mapping out)
- little internal subjective
- footsteps, train, whistle, gun shots-offscreen
- emphasize constant danger + builds suspense
- silence: signal of stopping, builds suspense
- music: same Mozart music used sparsely
8
Q
Moonrise Kingdom (Wes Anderson. USA, 2012)
A
- film talks directly to us (red gnome, letters)
- self conscious narration
- stylized acting
- Cinematography: specific techniques structured
- track right-continuity
- no selective focus/deep space focus
- zoom out/dolly out
- variety of shot scales
- MES: costumes establish personality-look distinct
- low contrast lighting
- deep space composition-action across all planes
- lighting is continuous-nothing obscured
- symmetry in frame-precise
- performance: serious, deadpan, stachoto (short), fast speed, no wavering/stumbles, crafted dialogue
- on location
9
Q
Rashomon (Akira Kurosawa. Japan, 1950)
A
- 8 testimonies of irreconcilable accounts
- woodcutter knows more than he revealed
- structured around flashbacks
- contradictory accounts
- POV of judge, static camera, high key lighting
- sparse dialogue, strategic use of light, shadow, tonal values, choreod cinematography + editing
10
Q
Forbidden Lie$ (Anna Broinowski. Australia, 2007)
A
- it’s hard to find the truth, everything is called into question
- reenactment: too fake
- interviews: ppl in Norma’s life + experts
- film is constantly contradicting itself
11
Q
Ballet Mécanique / Mechanical Ballet (Fernand Léger. France, 1924)
A
- compare humans to machines through parallel editing
- similar rhythms
- abstract: we see alot of objects + forces us to see it in diff. way
- circles+triangles
- back+forth movement
- mechanical movement
- director was an artist interested in which we move like machines
- makes us look at whisk as an object, colour, shape, movement
- focus on colour, light,vector, movement, not meaning/context
- balet making object moving like dance
12
Q
Un Chien Andalou /An Andalusian Dog (Luis Buñuel. France, 1929)
A
- graphic match: armpit, ants
- illogical narrative: weird timeline, diegesis
- confusing intertitles
- continuity editing, spatial discontinuity
- surrealism, confusing, dream logic, subconscious
- diff. kind of logic
13
Q
Meshes of the Afternoon (Maya Deren and Alexander Hammid. USA, 1943)
A
- handcam
- follows woman, mirror face
- repeated events: stairs, flower
- circular narrative
- continuity editing
- subjective
14
Q
Dog Star Man: Prelude (Stan Brakhage. USA, 1961)
A
- red, ppl, trees, blobs, moon, sky, heart, blood
- superimposed images
- rapid cutting
- silent: focus on images, pay attention to form
- abstract
- forces you to be in a diff. space, look at world in diff. way
- point is there is no meaning
- stop looking for deeper meaning, focus on perception
15
Q
Very Nice, Very Nice (Arthur Lipsett. Canada, 1961)
A
- still images of ppl + landscapes
- compilation of sound clips from radio + tv
- comment on society, life in the 60s
- editing rhythm matches with sound
- associational: metaphorical editing to produce meaning
- make connection betw. sound + images
- progression
- taking diff. things+putting it together in a way that produces new meaning
16
Q
It Wasn’t Love (Sadie Benning. USA, 1992)
A
- self narration
- Fisher Price camera
- title sequences
- soundtrack
- distorted narrative
- DIY, amaturish aesthetics
- taking existing media + subjecting a narrative on it
17
Q
Rhythmus 21 (Hans Richter. Germany, 1921)
A
- close relationship betw. avante garde + animation
- cut out animation
- works various + juxtaposition of shapes
- capacity for film through succession of images, creating depth
18
Q
Begone Dull Care (Norman McLaren. Canada, 1949)
A
- inking, scratching on film, direct
- time based medium
- counterpart to music, hand drawn sound, make visual music
