Print out the oscar ballot. Circle/Check your winners and turn it in to Mr. Varieur by Feb. 22. Watch any nominated film and complete an analysis for the categories. The more categories=the more points. Use terms and examples from Units 1-4.
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Group Projects will be posted above. Create a pdf to upload for all to see and review for the tests. See directions fro the project below.
Genre/History Film Project (200pts):
· Choose groups, choose a genre and a decade, and gather research. Has each member found at least 2 articles/links/websites to explain your genre? Have you read and highlighted the information? Have you read the directions to the project on the handouts given out in class? When will your group meet to complete the project?
· Watch 3 films in your genre? One film should be a classic. One should be a modern version. One should be a twist or change in the genre. Complete a comprehensive film analysis for 1 of the 3. Use clips from all 3 films to explain your genre. Which clips? why? Analyze one of the films for genre, decade, and film analysis. See questions for help analyzing:
What is the film's genre (see genre elements below)?
How does the film use the conventions and iconography of the genre? Any changes? revisions? Explain.
How is the story told (linear, with flashbacks, flash-forwards, episodically)?
What
“happens” in the plot? Discuss depth and range. Restricted narration?
How does the film cue particular reactions on the part of viewers (sound, editing,
characterization, camera movement, etc.)? Why does the film encourage such reactions?
Is the setting realistic or stylized? What atmosphere does the setting suggest? Do
particular objects or settings serve symbolic functions?
How are the characters costumed and made-up? What does their clothing or makeup
reveal about their social standing, ethnicity, nationality, gender, or age? How do costume
and makeup convey character?
What is illuminated, what is in the shadow? How does the lighting scheme shape our
perception of character, space, or mood?
What shot distances are used? Do you notice a movement from longer to closer shot
distances? When are the various shot distances used (e.g., the opening of the scene,
during a conversation, etc.)? What purposes do the shot distances serve?
How do camera angles function? How do they shape our view of characters or spaces?
How do camera movements function? What information do they provide about characters,
objects, and spaces? Do they guide the viewer’s eye toward particular details? Do they
align the viewer’s perspective with that of a character?
What types of cuts are used? How are the cuts used (to establish rhythm, shift between
characters, transition between spaces, mark passage of time)? Does editing comment on
the relationships between characters and/or spaces?
Do different characters use different kinds of language? Do certain characters speak
through their silences?
What is the music's purpose in the film? How does it direct our attention within the image?
How does it shape our interpretation of the image? How are sounds used?
How might industrial, social, and economic factors have influenced the film? Do conditions
in the filmmaking industry limit the way in which the film can represent particular
subjects? Does the film follow or critique dominant ideologies? Does it reflect and shape
particular cultural tensions?
THE PRESENTATION:
Explain the elements below with examples/clips from films or visuals:
-the history of the genre: influences? changes? popular when? why?
-typical plots and scenarios and how they resolve to affirm values
-the conventions and typical situations/conflicts
-the iconography-objects, symbols, mise en scence, props
-the character types (goodies, baddies, women)
-the code of the hero
-dialogue
-costumes
-mood-how is this achieved?
-settings-morals, values, environment, history, where/when? visual images?
-values/themes associated with the genre.
-cinematic style (Use what you've learned from units 1-3).Analyze and explain the look and style of the genre (art direction, mise en scene, editing, lighting, camera work, narrative structure, music, sound, special efx, etc.)
· Have you figured out how you are presenting your findings to the class? Which clips will you use? Powerpoint or Keynote (30 font min.)? Handouts for the class? Who is speaking? What are you saying?
· Use the "Dummy Script" to create a film in your genre. Make sure the look, costumes, dialogue, and music/editing match the style of your genre. Use the genre chart above to create your film. Show your film after the presentation.
· Have you researched your decade with several sources? Can you explain the 4 movements in film during your decade (aesthetic, economic, technological, social/historical)? Which genres were popular during your decade? Why? Great films released during that decade? Actors and directors that were popular during the decade? Hays code?
· Have you been to the 4 textbook websites to see test questions about your genre from the several textbook sites? Go there and make sure you answer the questions in your project. See the study guide and film terms for additional help in explaining your genre and decade.
· Turn in all sources with your project. Complete a group evaluation. You have one full period to present. Use all of the time wisely. Have you clips ready. Have your handouts made. Make sure the Powerpoint/Keynote works the day before you present.
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Unit 4: The History of Film, The Motion Picture Business, and Genres
See Filmart chps. 1,4,5, and 6, See Art of Watching Films chps. 13,14, & 15. See Looking at Movies chps. 3, 10, and 11, and all chapters for genres in AMERICAN CINEMA AMERICAN CULTURE 2nd edition click link below:
http://www.wwnorton.com/college/film/movies4/ch/10/studyplan.aspx
http://highered.mcgraw-hill.com/sites/0073386170/information_center_view0/
http://highered.mcgraw-hill.com/sites/0073535060/student_view0/chapter2/
http://highered.mcgraw-hill.com/sites/0073386162/student_view0/chapter2/
http://www.wwnorton.com/college/film/movies4/ (LATEST EDITION HERE)
*SEE NEW TEXT: AMERICAN CINEMA-http://highered.mheducation.com/sites/0072886277/student_view0/chapter8/index.html
http://highered.mcgrawhill.com/sites/0072886277/information_center_view0/overview.html
We will be watching films from each genre and from several periods of history. You will be given questions to answer about each film and genre while watching. Feel free to research the film, the genre, and the historical period. In groups, you will choose one genre and one decade in film history. Your task is to teach the class everything there is to know about the genre. You will also watch and analyze 3 films in the genre to use in your presentation. Tell us how history/pølitics/religion influenced the films in your decade and how the films influenced society. What innovations and changes occurred in the film industry? See HANDOUTS for more info. SEE QUESTIONS FOR THE GENRE FILMS DOCUMENT FOR THE FILMS SHOWN IN CLASS.
Screening Checklists:- As you study a particular film (or film artist, style, or movement), learn as much as you can about its historical context: the year in which it was made/released; the country of origin; why, if relevant, that year was important to that country’s history, and how, if relevant, the movie deals with the events of that period; the means of production (e.g., studio, independent, government-sponsored); the audience for which it was intended; its reception by the public and critics alike. Isolate and identify the movie as closely as you can within this overall context.
- Also learn about the film’s aesthetic context: Was it made as part of a particular film movement (e.g., Italian neorealism), or does it break from the prevailing tradition of the period? If it is representative of a movement, how does it measure up against the movement’s ideals and achievements? Is it part of a “national cinema” with its own aesthetic, political, and cultural values? Or is it part of the international movement of surrealist films?
- Learn something about its director’s overall body of work. Is he regarded as an auteur? If so, how is this movie similar to, or different from, his other films? If the director’s work is characterized by varying stylistic approaches, is this movie a recognizable example of his style or a break from that tradition? Since you may not have time to see many of the director’s movies, compare the movie you are considering with his most famous movie.
- Similarly, following the above approach, you may want to study the history of another creative artist in the historical context of a particular genre. A few suggestions are Hayao Miyazaki’s anime style within the history of animation, Preston Sturges’s screenplays for 1930s screwball comedies, Freddie Young’s cinematography for the historical epics directed by David Lean, Ann Roth’s approach to designing costumes for period movies, Walter Murch’s sound designs for the movies of Francis Ford Coppola, or the production design of films about the Civil War from D. W. Griffith’s The Birth of a Nation (1915) to Anthony Minghella’s Cold Mountain (2003).
- When a historical event has inspired various movies (e.g., the Great Depression, the Vietnam War, Watergate), you have a rich opportunity to analyze and understand those cinematic interpretations. First, you should understand the complexity of this (and any) historical event by taking notes on how different historians have treated it—in other words, to understand that all historical accounts are themselves interpretations of events. This will establish a context for determining the scope, thoroughness, and effectiveness of the movies inspired by the event.
- Have you found that a particular movie has made important innovations in cinematic language or in the use of technology? If so, what are they? Who was principally responsible for them (e.g., the director, sound designer, cinematographer)? Was this a momentary blip on history’s screen, or did it become a permanent part of cinematic technique or language? Can you name a specific innovation and its influence on a particular director or movie?
- If your movie was the product of a particular Hollywood studio, find out if that studio had a unified style for most of its movies or encouraged its directors to use different styles. If the former, how well does the movie evoke that style? If the latter, how is it different? And did it influence subsequent studio productions?
- Many independent movies, those made in the poststudio years, are characterized, on one hand, by adhering to the traditional aspects of cinematic language and, on the other, by making recognizable breaks from tradition. If your movie fits into this category, how “independent” is its director? Is he someone who works solely to fulfill his own vision (e.g., Stanley Kubrick), a maverick who works within the much looser configuration of the New American Cinema (e.g., Clint Eastwood), or a trailblazer who tackles edgy subjects in a bid for new audiences (e.g., Quentin Tarantino)?
- Are you interested in the interaction between a movie’s ideology and its marketing? If so, choose a movie such as Gus Van Sant’s Milk (2008)—about the beginnings of the gayrights movement—and (following the analytical model of Jason Reitman’s Juno [2007] in Chapter 1), identify its ideology, determine the audiences for which it was produced, and how it was marketed and received. In this, you might provide a context of other films on gay issues, including, among others, Basil Dearden’s Victim (1961), John Schlesinger’s Midnight Cowboy(1969), William Friedkin’s Boys in the Band (1970), Jonathan Demme’s Philadelphia (1993), and Ang Lee’s Brokeback Mountain (2005).
REVIEW:
1. What are four traditional approaches to film history? Pick a film and briefly explain how you would discuss it in terms of these four different approaches.
2. Name some important movements or groups of filmmakers in the history of cinema. Discuss how the aesthetics of each movement or group is related to cultural, historical, or political issues.
3. Discuss the chronological breakdown of film history and identify its major achievements in terms of film form, social or cultural history, politics, and technology.
4. Discuss the contributions of individual directors to film as an art form.
5. What major historical events have affected how and why movies are made? Have movies played a role in shaping these events? Why or why not?
- Since most of the movies that you study in your introductory film class will be narrative films, you should ask whether a particular film can be linked with a specific genre and, if so, to what extent it does or does not fulfill your expectations of that genre.
- Be aware that many movies borrow or blend elements of multiple genres. Look for familiar formal, narrative, and thematic genre elements, and ask yourself how and why this film uses them.
APPROACHES, HISTORY, PEOPLE, INVENTIONS, BUSINESS
Read the articles, visit the links, watch the videos, see the ppts, do some research, and see sources below. In your genre group or any other group of 4 max, fill out the UNIT 4 SHEET (25 pts).
Read the articles, visit the links, watch the videos, see the ppts, do some research, and see sources below. In your genre group or any other group of 4 max, fill out the UNIT 4 SHEET (25 pts).
film_history_and_genres_outline.docx | |
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LINK TO TEXT WITH CHAPTERS BY GENRE
SEE A COPY OF THE MPPC/HAYS CODE CLICK HERE
Concise History of Cinema
http://www.youtube.com/watch?v=K_Sq_FNoMnY
http://www.pictureshowman.com/timeline.cfm
history decade by decade
http://www.filmbug.com/dictionary/moviehistory.php
more history
MORE HISTORY, PEOPLE, AND INVENTIONS HERE
http://www.earlycinema.com/
the_major_minor_studios.pdf | |
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filmhistory.ppt | |
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GENRES-http://www.filmsite.org/genres.html
http://www.jahsonic.com/FilmGenre.html
DOCUMENTARY GENRE and EXTRA CREDIT PACKET BELOW:
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http://guides.library.yale.edu/content.php?pid=9130&sid=195403
GENRES-http://www.ftvstudy.com/page5/page22/page22.html
HISTORY BY DECADE-http://www.filmsite.org/filmh.html
OVERVIEW OF GENRES-http://education.cinematheque.bc.ca/e_guides.htm
MORE GENRES-http://www.jahsonic.com/FilmGenre.html
MORE GENRES-http://www.greencine.com/genre
FILM NOIR-http://www.crimeculture.com/Contents/Film%20Noir.html
http://www.detnovel.com/history.html
MORE NOIR-http://www.filmnoir.com/
SCREENING FILMS IN CLASS:
In addition to answering the questions and reading the articles for each film, you must write a film review for all films shown in class. See documents, vocabulary/words to use, and links for how to write a film review. Use terms from units 1-3 along with the conventions and inconography of the genre in your analysis/evaluation of the film.
In addition to answering the questions and reading the articles for each film, you must write a film review for all films shown in class. See documents, vocabulary/words to use, and links for how to write a film review. Use terms from units 1-3 along with the conventions and inconography of the genre in your analysis/evaluation of the film.
useful-phrases-film-analysis-kv-cornelsen.pdf | |
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how_to_write_a_film-review.pdf | |
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_film_review_questions-1.docx | |
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a beautiful story by one of the best filmmakers of our generation
a fantastic movie with great writing/acting/performances
a film that oozes brilliance/emotion/intrigue
a fine, well-crafted story that is highly enjoyable
a movie that breaks the mold
a must-see for those who enjoy ___
a powerful film that is heartbreaking/touching/thought-provoking
a script worthy of the actor's dramatic talents
a unique and thought-provoking film about ___
a well-chosen cast that brings the story to life
behind the scenes
bravo!
brilliant in conception and exuction
filmed on-location
good but not great
keeps the viewer guessing/thinking/on edge
movie magic
nearly perfect in every way
the actress delivers a noteworthy performance
the characters' stories intersect and ___
the film creates a sense of heightened ___
the film is a metaphor for ___ and ___
the film is a metaphor for the way people ___
the film is a moving tale/portrayal of ___
the film is a visual marvel
the film is an extraordinary testament/production/portrayal/depiction
the film leads the view to believe ___
the film reveals a ___ and ___ story about ___
the movie accomplishes everything it sets out to do/its mission
the movie accomplishes the difficult task of ___
the movie breathes life into the stale genre of ___
the movie captures ___ in all of its glory
the movie captures the essence of ___
the movie develops into a non-stop thrill ride
the movie develops smoothly/slowly/thoughtfully/precisely
the movie dramatizes the hero's struggle/fight/battle
the movie dramatizes the story of ___
the movie enchants with every element/plot/acting/scenery/music
the movie enchants you from the beginning
the movie excites me just thinking about it
the movie excites the passions/senses/the viewer's interests
the movie explores the oppositional forces of ___ and ___
the movie explores what it truly means to ___
the movie forces us to consider the power of ___
the movie forces you to pay attention
the movie illustrates the power of ___
the movie illustrates the writer's main points of ___ and ___
the movie immerses the movie goer in the adventures of ___
the movie immerses us in the history of ___/a universe of ___
the movie makes you feel ___
the movie makes you think
the movie plays on the cultural icon of ___
the movie plays on your emotions
the movie reveals a ___ story about ___
the movie reveals an unexpected plot twist
the movie urges us to reexamine ___
the movie urges you to see beyond ___
the plot tugs at your emotions
the storyline of ____ is smooth and it grabs you
the two leads interact with each in a ___ way
this movie is the total package
well worth viewing
a fantastic movie with great writing/acting/performances
a film that oozes brilliance/emotion/intrigue
a fine, well-crafted story that is highly enjoyable
a movie that breaks the mold
a must-see for those who enjoy ___
a powerful film that is heartbreaking/touching/thought-provoking
a script worthy of the actor's dramatic talents
a unique and thought-provoking film about ___
a well-chosen cast that brings the story to life
behind the scenes
bravo!
brilliant in conception and exuction
filmed on-location
good but not great
keeps the viewer guessing/thinking/on edge
movie magic
nearly perfect in every way
the actress delivers a noteworthy performance
the characters' stories intersect and ___
the film creates a sense of heightened ___
the film is a metaphor for ___ and ___
the film is a metaphor for the way people ___
the film is a moving tale/portrayal of ___
the film is a visual marvel
the film is an extraordinary testament/production/portrayal/depiction
the film leads the view to believe ___
the film reveals a ___ and ___ story about ___
the movie accomplishes everything it sets out to do/its mission
the movie accomplishes the difficult task of ___
the movie breathes life into the stale genre of ___
the movie captures ___ in all of its glory
the movie captures the essence of ___
the movie develops into a non-stop thrill ride
the movie develops smoothly/slowly/thoughtfully/precisely
the movie dramatizes the hero's struggle/fight/battle
the movie dramatizes the story of ___
the movie enchants with every element/plot/acting/scenery/music
the movie enchants you from the beginning
the movie excites me just thinking about it
the movie excites the passions/senses/the viewer's interests
the movie explores the oppositional forces of ___ and ___
the movie explores what it truly means to ___
the movie forces us to consider the power of ___
the movie forces you to pay attention
the movie illustrates the power of ___
the movie illustrates the writer's main points of ___ and ___
the movie immerses the movie goer in the adventures of ___
the movie immerses us in the history of ___/a universe of ___
the movie makes you feel ___
the movie makes you think
the movie plays on the cultural icon of ___
the movie plays on your emotions
the movie reveals a ___ story about ___
the movie reveals an unexpected plot twist
the movie urges us to reexamine ___
the movie urges you to see beyond ___
the plot tugs at your emotions
the storyline of ____ is smooth and it grabs you
the two leads interact with each in a ___ way
this movie is the total package
well worth viewing
Homework and articles/links for City Lights and
THE ARTIST (50pts) below. Answer the questions for CITY LIGHTS from the document and complete a film review for THE ARTIST (see film review doc). Use as many quotes/ideas from the links as possible! Look at Chapters 5 and 6 of the American Cinema textbook site.
citylightsandartist.docx | |
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http://www.filmsite.org/melodramafilms.html
READ THIS INFORMATION ABOUT MELODRAMA AND SILENT MOVIES. SEE YOUR NOTES AND WEBSITES FOR QUESTIONS ABOUT SILENT FILM AND MELODRAMA TO INCLUDE IN YOUR COMPARISION OF THE ARTIST AND CITY LIGHTS.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19971221/REVIEWS08/401010310/1023
Article on City Lights
http://www.filmsite.org/city.html
Another article on City Lights
http://mentalfloss.com/article/30080/masterpieces-charlie-chaplins-city-lights
City Lights and THE ARTIST
http://silentlocations.wordpress.com/category/the-artist/
LOCATIONS IN THE ARTIST PAY TRIBUTE TO OLD HOLLYWOOD AND CITY LIGHTS
The Artist Anatomy of a Scene-Compare it to City Lights
http://blog.cinemaautopsy.com/2012/01/30/film-review-the-artist-2011/
A review of THE ARTIST above
http://www.nytimes.com/video/2011/11/23/movies/100000001188913/anatomy-of-a-scene-the-artist.html
analysis of a scene from THE ARTIST
DOUBLE INDEMNITY-partners ok
http://www.screenwritersutopia.com/modules.php?name=Content&pa=showpage&pid=80
DOUBLE INDEMNITY ARTICLE ABOUT WRITER AND DIRECTOR BILLY WILDER
http://www.filmsite.org/doub.html
CLICK LINK ABOVE FOR ANALYSIS OF DOUBLE INDEMNITY
http://www.lib.berkeley.edu/MRC/noir/np05ff.html
CLICK ABOVE TO LEARN MORE ABOUT THE FEMME FATALE IN DOUBLE INDEMNITY
More Discussion on DOUBLE INDEMNITY SEE:http://www.kellimarshall.net/filmnoir/discussion-questions/
THE ROAD TO DOUBLE INDEMNITY-http://www.crimeculture.com/Contents/Articles-Spring05/RW-DoubleIndemnity.html
http://www.culturecourt.com/F/Noir/DIndemnity.htm
MORE ABOUT DOUBLE INDEMNITY
http://blog.cinemaautopsy.com/2008/10/09/notes-on-film-double-indemnity/
http://blog.cinemaautopsy.com/2008/10/09/notes-on-film-double-indemnity/
doubleindemnity_guide.pdf | |
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MORE QUESTIONS TO HELP YOU UNDERSTAND Double Indemnity AND Film Noir
Double Indemnity (USA-Paramount, 1944)
Directed
by Billy Wilder. Screenplay by Billy Wilder and Raymond Chandler. Based on the
novel by James M. Cain. Photographed by
John F. Seitz. Art Decoration by Hans Dreir and Hal Pereira. Music by Miklos
Rozsa, with Symphony in D minor by Cesar Franck. Sound by Stanley Cooley.
Edited by Doane Harrison.
CAST: Fred MacMurray (Walter Neff), Barbara Stanwyck (Phyllis Dietrichson), Edward G. Robinson (Barton Keyes), Porter Hall (Mr. Jackson), Jean Heather (Lola Dietrichson), Tom Powers (Mr. Dietrichson), Byron Barr (Nino Zachette), Richard Gaines (Mr. Norton), Fortunio Bonanova (Sam Gorlopis)
107 minutes.
Part 1-Read all of the links and articles below and summarize your knowledge of film noir:
1. Perhaps the most famous character in film noir movies is the
femme fatale. Although you may not have a clear definition of a
femme fatale in mind, in a few sentences, write down what you
know about this kind of character.
2. In film noir, many of the male leads are weak, frustrated men.
While you are watching Double Indemnity, make a mental note
of Walter Neff’s characteristics? What kind of man is he? What
is his relationship like with women?
3. Film noir literally means “black film.” As you are watching the
film, keep track of all the elements in the picture that seem dark
or depressing. Think about the characters, the setting, and the
storyline.
Part 2:
1. Double Indemnity has been called “a film without a single
trace of pity or love.” Do you agree with this statement? Think
about the motivations that lie behind the actions of Walter Neff
and Phyllis Dietrichson when you consider your response.
2. In your mind, are there any heroes in Double Indemnity? If
so, who?
3. Film noir movies are still made in Hollywood today. Can you
think of any recent detective films or movies about crime that have
a similar look or mood? How do these films compare with Double
Indemnity (a movie often thought of as the original film noir)?
Part 3:
How is this typical of pulp fiction? Read the document below (doubleindemnityandthehayscode.pdf) about the film and the Hays code and Give examples from the article and the film.
10. Rate the film 1-10 (10 being the best). How does it hold up today (70 years later)? Any influences from this film seen in films today? Where?
CAST: Fred MacMurray (Walter Neff), Barbara Stanwyck (Phyllis Dietrichson), Edward G. Robinson (Barton Keyes), Porter Hall (Mr. Jackson), Jean Heather (Lola Dietrichson), Tom Powers (Mr. Dietrichson), Byron Barr (Nino Zachette), Richard Gaines (Mr. Norton), Fortunio Bonanova (Sam Gorlopis)
107 minutes.
Part 1-Read all of the links and articles below and summarize your knowledge of film noir:
1. Perhaps the most famous character in film noir movies is the
femme fatale. Although you may not have a clear definition of a
femme fatale in mind, in a few sentences, write down what you
know about this kind of character.
2. In film noir, many of the male leads are weak, frustrated men.
While you are watching Double Indemnity, make a mental note
of Walter Neff’s characteristics? What kind of man is he? What
is his relationship like with women?
3. Film noir literally means “black film.” As you are watching the
film, keep track of all the elements in the picture that seem dark
or depressing. Think about the characters, the setting, and the
storyline.
Part 2:
1. Double Indemnity has been called “a film without a single
trace of pity or love.” Do you agree with this statement? Think
about the motivations that lie behind the actions of Walter Neff
and Phyllis Dietrichson when you consider your response.
2. In your mind, are there any heroes in Double Indemnity? If
so, who?
3. Film noir movies are still made in Hollywood today. Can you
think of any recent detective films or movies about crime that have
a similar look or mood? How do these films compare with Double
Indemnity (a movie often thought of as the original film noir)?
Part 3:
- Double
Indemnity
combines many ingredients of the classic murder story: a "perfect" crime, a
large insurance policy, a tenacious investigator, and the inevitable
falling-out among the thieves. The one element this film purposely lacks is
surprise: we know from the first five minutes who did what to whom. How does
the film manage to sustain interest in spite of this? Why does Neff do it?
- What
details of mise-en-scene seem to contribute to the overall mood or tone
of this film? How would you describe the mood of Double Indemnity? Explain the use of lighting and shadow. What symbolism is used in the film? Think of objects in the mise en scene.
- Does
this film seem to fit the pattern of the classical Hollywood film? Are the
problems set up at the outset of the film resolved by the end? Does Double
Indemnity follow the pattern of the usual "boy meets girl" plot?
- Define,
as carefully as you can, the key elements of the main actors' performances in
this film (Stanwyck-Phylliss, MacMurray-Walter, Robinson-Keyes). Does each actor seem especially
suited to the role he or she plays? Can you imagine other actors in the same
roles?
- How
might one best describe the motivation of Phyllis in the film? Is she primarily
interested in money? Is she in any way a sympathetic character? How is she a typical femme fatale? How does the film portray women, marriage, family, domestic life, etc.?
- In
terms of narrative, how would you describe the plot of Double
Indemnity in relation to its story (as differentiated by Bordwell
and Thompson in the textbook Film Art: An Introduction)? How much time
passes by during the plot of the film? During the story? THINK UNIT 1-FORM/STRUCTURE/PLOT/STORY
- How
would you describe the relationship between Walter Neff and Barton Keyes? Describe each character in the film and how each one functions. Who represents morality? Why? What does Walter's job reveal about society and his role as the anti-hero in it?
- Double
Indemnity
relies a good bit on voice-over narration. Do you think this is a good device
or a distraction? What is the effect of this kind of narration by one of the
film's characters? How would it be different if the narrator were not a
character in the story?
How is this typical of pulp fiction? Read the document below (doubleindemnityandthehayscode.pdf) about the film and the Hays code and Give examples from the article and the film.
10. Rate the film 1-10 (10 being the best). How does it hold up today (70 years later)? Any influences from this film seen in films today? Where?
doubleindemnityandthehayscode.pdf | |
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SINGIN IN THE RAIN (50pts)-partners ok
See the powerpoints below. See the textbook website American Cinema for Chapter 7: The Musical.
THE MUSICAL-http://www.musicals101.com/musical.htm
MORE INFO ON SINGIN IN THE RAIN-http://www.pictureshowman.com/articles_films_singinginrain.cfm
THE GREATEST MUSICAL?
singingguide12.pdf | |
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http://www.filmsite.org/sing.html
http://www.filmmusicnotes.com/love-and-music-in-singin-in-the-rain/
READ THE ARTICLES/LINKS ABOUT SINGIN IN THE RAIN ABOVE and ANSWER QUESTIONS (parts 1-4) BELOW. You must also download the singingguide12 pdf and complete all of the activities.
More Questions for Singin in The Rain:
Singin�
in the Rain
(USA-Metro-Goldwyn-Mayer, 1952)
Directed by Gene Kelly and Stanley Donen. Produced by Arthur Freed. Screenplay by Adolph Green and Betty Comden, suggested by the song Singin' in the Rain. Photographed by Harold Rosson. Edited by Adrienne Fazan. Music composed by Nacio Herb Brown, Lyrics by Arthur Freed. Music Director Lennie Hayton. Art Direction Cedric Gibbons, Randall Duell.Set Design by Edwin B. Willis, Jacques Mapes. Special Effects by Warren Newcombe and Irving G. Ries. Costumes by Walter Plunkett.
CAST: Gene Kelly (Don Lockwood), Donald O'Connor (Cosmo Brown), Debbie Reynolds (Kathy Selden), Jean Hagen (Lina Lamont), Millard Mitchell (R. F. Simpson), Rita Moreno (Zelda Zanders), Douglas Fowley (Roscoe Dexter), Cyd Charisse (Dancer in ballet sequence), Madge Blake (Dora Bailey), King Donovan, (Rod), Kathleen Freeman (Phoebe Dinsmore), Bobby Watson (Diction Coach), Jimmie Thompson (Male lead in Beautiful Girls number), Dan Foster (Assistant Director), Margaret Bert (Wardrobe Woman), Mae Clark (Hairdresser), Judy Landon (Olga Mara), John Dodsworth (Baron de la May de la Toulon), Stuart Holmes (J. C. Spendrill III), Dennis Ross (Don as a boy).
103 minutes
PART 1
PART 3: Discussion Questions
PART 4: READ SINGING GUIDE12 BELOW AND COMPLETE THE QUESTIONS AND ACTIVITIES
Directed by Gene Kelly and Stanley Donen. Produced by Arthur Freed. Screenplay by Adolph Green and Betty Comden, suggested by the song Singin' in the Rain. Photographed by Harold Rosson. Edited by Adrienne Fazan. Music composed by Nacio Herb Brown, Lyrics by Arthur Freed. Music Director Lennie Hayton. Art Direction Cedric Gibbons, Randall Duell.Set Design by Edwin B. Willis, Jacques Mapes. Special Effects by Warren Newcombe and Irving G. Ries. Costumes by Walter Plunkett.
CAST: Gene Kelly (Don Lockwood), Donald O'Connor (Cosmo Brown), Debbie Reynolds (Kathy Selden), Jean Hagen (Lina Lamont), Millard Mitchell (R. F. Simpson), Rita Moreno (Zelda Zanders), Douglas Fowley (Roscoe Dexter), Cyd Charisse (Dancer in ballet sequence), Madge Blake (Dora Bailey), King Donovan, (Rod), Kathleen Freeman (Phoebe Dinsmore), Bobby Watson (Diction Coach), Jimmie Thompson (Male lead in Beautiful Girls number), Dan Foster (Assistant Director), Margaret Bert (Wardrobe Woman), Mae Clark (Hairdresser), Judy Landon (Olga Mara), John Dodsworth (Baron de la May de la Toulon), Stuart Holmes (J. C. Spendrill III), Dennis Ross (Don as a boy).
103 minutes
PART 1
- What type of musical is Singin in the Rain? Explain.
- What is the real story behind Cosmo and Don Lockwood? Is it DIGNITY? HINT: The narrative images on the screen belie every embellished, fabricated word he speaks - in reality, the pictures and descriptions are terribly disjointed. [The film's theme is the 'out of sync' disjunction of words / sounds / movie images from reality - what can be believed in the magical world of film? Can we believe our eyes and our ears?] What actually happened to Cosmo and Don is seen entirely differently - as an uphill struggle for two musicians/performers.
- What does Kathy say about acting in movies and acting on the stage? Have you heard this before? Where?
- What do the people think about Talkies at first? What is the first talkie? What do they think after it has been released? What does Monumental Pictures decide to do?
- What happens with the sound in the first screening of the Dueling Cavalier?
- How do they save the picture?
- What overall tone and sorts of attitudes does Singin in the Rain seem to have towards Hollywood and the movie industry? towards movie-making itself? towards silent films? towards talking pictures? towards the media? towards human relationships? towards its own characters?
- How does the mise en scene reflect those attitudes? How would you compare this film with, say, Sunset Boulevard or other films like THE ARTIST and CITY LIGHTS, or any other films you've seen that deal with the movie industry?
- Singin in the Rain was filmed in the expensive Technicolor process at a time when movies were just as often shot in black and white. Why do you suppose this decision was made? What sort of impact does the use of color have on the movie?
- The story and plot of Singin in the Rain were designed around an existing collection of popular songs written by the producer. Because most of them had been introduced during the 1929-30 period, the years sound films were replacing silents, they decided to set the story in that era. What place do the songs and musical production numbers have in this film? Do they advance the plot or are they simply diversions? Do they develop the characters or are the singing and dancing performances just another part of what the characters do in the story world? How well would the film work without the songs? How does this film compare with any other musicals you may have seen (in approach, filmmaking style, general tone, etc.)?
-
How
do actors Gene Kelly and Donald O'Connor modify the style of their performances
at different times in the film? At what points do they do this, and what effect
does it have? CHOOSE 1 SONG/DANCE TO EXPLAIN (Like you did for Chicago last semester).
- Debbie Reynolds was only 19 years old when she made this film, her first big role. How well does her performance stand up against the more experienced stars?
- What sorts of information about moviemaking does the film provide? How accurate does it appear to be in portraying the historical period it's set in (which was approximately 25 years before the time it was made)? What types of musicals are presented in the film ? Explain.
PART 3: Discussion Questions
- Why do you think musicals were so popular from the 1930s to the end of the 1950s? (HINT: Think about the history of the U.S. and the history of the film.) For a while, except for MTV-style videos and animated cartoons such as The Lion King and Beauty and the Beast, the movie musical seemed to have become a dead letter. The critical acclaim that has greeted the recent releases of Moulin Rouge! and Chicago seems to suggest that the musical may be experiencing a revival. Why do you think that today’s audiences seem to have become interested again in traditional musicals like Singin’ in the Rain?
- Gene Kelly’s singing and dancing performances are an unquestionably important part of the film. How would you describe his style of dancing? For those of you who have seen Fred Astaire dance, can you describe the difference between his mode of dancing and Kelly’s? Kelly always said that he was more comfortable dancing with men than with women. Is this evident in the film? If so, how? Where? And why do you think his particular dancing style lends itself to this preference for male partners?
- The film’s key musical performance—and the single most memorable dance number in cinematic history—is the “Singin in the Rain” sequence. As you watch this scene, consider the following questions:
- how does this sequence exemplify Kelly’s interest in using dance as an “expression of characters’ moods and feelings.” How does this musical number illustrate Lockwood’s mood--and his emotional development-- at this particular moment in the narrative?
- how are sound effects used in the sequence, particularly the sounds of Kelly’s tap dancing?
- Singin’ in the Rain, like all movies, is about life, not just about making movies. Since classic Hollywood films were meant to support social values, they were designed to showcase characters who modeled socially desirable traits. What admirable qualities does Don Lockwood have? What cluster of values does Kathy Selden represent? Lina Lamont? How are Don’s dilemma and its solution marked by his acceptance (or rejection) of those values? What life lessons are we meant to learn from this film? How do these lessons relate to real-life issues during the 1950s?
- According to Peter Wollen, “The core issue in the film is . . . the relationship between sound and image.” How does Singin’ in the Rain represent that relationship? In real life, do you tend to believe what you see or what you hear? In watching a film, which do you tend to pay most attention to? How does Singin’ in the Rain make use of that tendency? How does the film’s assertion square with the fact that Debbie Reynolds’s singing voice was dubbed in the actual film?
- According to Peter Chumo, “Creating the show and creating Don’s new identity are the two central issues of Singin’ in the Rain.” How would you describe that new identity? What steps are needed to create it? How is the dual-plot structure of the story involved in this development?
- ***READ THE LINKS AND STUDY GUIDES ABOVE AND BELOW AND USE THE INFO. IN YOUR RESPONSE/SUMMARY/REVIEW OF THE FILM. RATE THE FILM 1-10 (10 being the best). How does it rate as a musical? Is this the "GREATEST MUSICAL OF ALL TIME"? Discuss the elements in your review.
PART 4: READ SINGING GUIDE12 BELOW AND COMPLETE THE QUESTIONS AND ACTIVITIES
http://www.youtube.com/watch?v=xSOo4A9Z2FA
UPDATED COMMERCIAL OF SINGIN IN THE RAIN (see other parodies on youtube including a STAR WARS VERSION
http://www.fanpop.com/clubs/joseph-gordon-levitt/videos/14942374/title/jgl-on-snl-make-laugh
Joseph Gordon-Levitt song and dance on SNL-"MAKE EM LAUGH"
THE GRADUATE
http://tvtropes.org/pmwiki/pmwiki.php/Main/TheGraduateHomageShot
http://www.unc.edu/~forrestw/graduate.html
READ THE LINK ABOVE TO LEARN ABOUT WATER AND OTHER SYMBOLS IN THE GRADUATE
http://www.filmsite.org/grad.html
SEE LINK ABOVE TO THE GRADUATE ARTICLE AND ANALYSIS
The Graduate http://www.unc.edu/~jbenton/Graduate_Analysis.html
1. How is the film a coming of age story? How is the film a product of the 60s without the Hays Code restrictions?
2. How is the dominant culture/adult society presented? Do they understand Ben? Why not?
3.What types of comedy are found in the film? Discuss scenes that made you laugh.
4. Trace the motifs and camera shots throughout the film? How many times do you see water in the film?
5. Discuss the soundtrack and songs. How do they communicate the meaning? character? tone? passage of time? Explain the montages that go with the songs.
6. What do you think about the ending? Explain the last scene on the bus.
2. How is the dominant culture/adult society presented? Do they understand Ben? Why not?
3.What types of comedy are found in the film? Discuss scenes that made you laugh.
4. Trace the motifs and camera shots throughout the film? How many times do you see water in the film?
5. Discuss the soundtrack and songs. How do they communicate the meaning? character? tone? passage of time? Explain the montages that go with the songs.
6. What do you think about the ending? Explain the last scene on the bus.
http://www.youtube.com/watch?v=FZbW3GgZvf0
Graduate Clips from Wayne's World and Old School above and below
http://www.youtube.com/watch?v=VmyDnnh1S3A
http://course1.winona.edu/pjohnson/h140/studentsf01/graduate/
http://sarcasmalley.com/graduate.html
READ THE SCREENPLAY FOR THE GRADUATE AT THIS SITE:http://sarcasmalley.com/graduate.html
THE GODFATHER· What does the film say about Family and “The MAFIA FAMILY”? How are
they similar and different? Why do we root for Michael even though everyone is
bad? What do we admire about the code of the gangster? What does the film say
about the American Dream?
http://www.filmsite.org/godf.html
CLICK LINKS ABOVE and BELOW TO READ MORE ABOUT THE GODFATHER.
ANSWER QUESTIONS and Complete the TASKS ON THE GODFATHER PDF BELOW.
***BE SURE TO EXPLAIN THE FAMILY AND "THE FAMILY" and other values presented in the film.
ANSWER QUESTIONS and Complete the TASKS ON THE GODFATHER PDF BELOW.
***BE SURE TO EXPLAIN THE FAMILY AND "THE FAMILY" and other values presented in the film.
http://www.crimeculture.com/Contents/Articles-Spring05/Godfather.html
Read the link above and discuss how The Godfather depicts the gangster genre and represents in the American Dream.
GANGSTER-http://www.associatedcontent.com/article/143685/the_independent_moviemaker_understanding.html?cat=38
godfather.pdf | |
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See the parody above.
SEE THE GHOST IN THE GODFATHER-http://www.thegodfathertrilogy.com/ghostly_image.html
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THE WESTERN: UNFORGIVEN
THE SEARCHERS or RANGO or NO COUNTRY FOR OLD MEN ARE EXTRA CREDIT,
UNFORGIVEN-http://www.deepfocusreview.com/reviews/unforgiven.asp
THE SEARCHERS/WESTERN GUIDE BELOW
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LINK TO UNFORGIVEN SCRIPT HERE
http://www.filmsite.org/unfo.html
See scripts, PDF, links, and "ALTERED STATES: LANDSCAPE, GENRE, AND THE BURDEN OF GUILT IN CLINT EASTWOOD'S UNFORGIVEN" and ANSWER THE QUESTIONS BELOW FOR HOMEWORK
UNFORGIVEN QUESTIONS
1. How does this film turn the western myth upside down? See the articles and links below to help. Discuss:
2. Discuss the character of Beauchamp. What does he learn about the West that isn't found in dime store novels? Who helps him to learn this? Choose scenes to show how the film pays tribute to the western genre and how it changes it from the dime store novels. Use quotes and examples from the film.
3. Who is the hero? Munny? Little Bill? What do we learn about them the first time we see them on screen? What are their ages? their values and codes? Is Munny your typical hero? or Killer? Does the Sheriff maintain law and order in the town? How? Are they loners? Are they likable? What values are affirmed in the film through these characters? Use quotes to prove your answers.
4. Discuss the other characters (Ned, English Bob, the Kid, Delilah) and their roles in the film. Do they adhere to the conventions of the genre?
5. Discuss the look, costumes, cinematography, and inconography of the film by explaining any 3 scenes from the film.
6. How does the film open? How does it end? Does the hero ride off into the sunset? Why or Why not?
UNFORGIVEN QUESTIONS
1. How does this film turn the western myth upside down? See the articles and links below to help. Discuss:
- violence/killings
- the tenderfoot
- the goodies and baddies
- justice
- the outdoors and sleepin under the stars
- the tenderfoot and the shooting lesson
- the role of women
- the West vs the East or England (wild west vs culture/civilization),American values of freedom/self-reliance/independence
- the shooting of the men who cut the woman
2. Discuss the character of Beauchamp. What does he learn about the West that isn't found in dime store novels? Who helps him to learn this? Choose scenes to show how the film pays tribute to the western genre and how it changes it from the dime store novels. Use quotes and examples from the film.
3. Who is the hero? Munny? Little Bill? What do we learn about them the first time we see them on screen? What are their ages? their values and codes? Is Munny your typical hero? or Killer? Does the Sheriff maintain law and order in the town? How? Are they loners? Are they likable? What values are affirmed in the film through these characters? Use quotes to prove your answers.
4. Discuss the other characters (Ned, English Bob, the Kid, Delilah) and their roles in the film. Do they adhere to the conventions of the genre?
5. Discuss the look, costumes, cinematography, and inconography of the film by explaining any 3 scenes from the film.
6. How does the film open? How does it end? Does the hero ride off into the sunset? Why or Why not?
f_h_guide13.pdf | |
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THE SILENCE OF THE LAMBS
http://www.filmsite.org/thrillerfilms.html
http://en.wikipedia.org/wiki/Thriller_(genre)
PSYCHOLOGICAL THRILLER INFO ABOVE
http://www.authorstream.com/Presentation/turk-65138-psychological-thriller-education-ppt-powerpoint/
POWERPOINT ABOUT PSYCHOLOGICAL THRILLERS ABOVE
http://www.findmeanauthor.com/crime_fiction.htm
CRIME GENRE INFO ABOVE
http://www.filmsite.org/sile.html
HORROR-http://www.horrorfilmhistory.com/index.php?pageID=early
IS THIS A HORROR FILM? IS IT SCARY? SEE LINK BELOW AND EXPLAIN USING THE CONVENTIONS AND ICONOGRAPHY.
- What was your emotional response (horrify? disgust?) to the film after you finished
watching it? Did you have a favorite scene? What specific cinematic
techniques did the director use to help evoke this response? Did it scare you? Explain with examples from editing, lighting, music, cinematography, mise en scene, etc. Use examples.
- Discuss the monsters in the film. How do they attack normal life? Why does Hannibal Lecter capture our interest so strongly? What qualities of his character are so intriguing? Jame Gumb do the same? Which one is scarier? Why? Discuss how they scare us. Mise en scene? Iconography? What made them monsters?
- How is Starling characterized in the film? Is her name symbolic? Why does Lecter talk to Starling? What about her character appeals to him? And why does he tell her he has no plans to call on her, “the world being more interesting with you in it”?
- How does The Silence of the Lambs examine the point of
view of the obsessive psychopath? What sheds some light on the inner
workings of Jame Gumb? Why does he collect that particular species of
moth? He covets things—what does this mean? Does this represent the dark side of humanity?
- Explain how this film is a hybrid of 3 genres: Horror, Crime, and Psychological Thriller. See the links above to explain examples the conventions and iconography of each genre. The more examples, quotes, elements, and proof, the better your grade. Choose 1 scene for each genre to prove your case.
- Any other issues/themes that connect to society in the film? Rate the film 1-10 and give reasons for your score. Remember this isn't just a horror movie, but does it horrify us? What other genre is Silence of the Lambs?
CROUCHING TIGER HIDDEN DRAGON
http://www.brightlightsfilm.com/33/crouchingtiger.php
CROUCHING TIGER INFO ABOVE
CROUCHING TIGER-http://www.decentfilms.com/articles/cthd-article.html
MORE INFO on the philosophy
http://www.limina.arts.uwa.edu.au/__data/page/90432/gomes.pdf
MORE INFO
CROUCHING TIGER-http://archive.sensesofcinema.com/contents/00/11/crouching.html
MORE INFO
http://www.chikung.org.tw/etxt/20010222-1.htm
MORE CROUCHING TIGER... INFO
http://www.imdb.com/title/tt0190332/quotes
CLICK HERE TO SEE QUOTES FROM THE FILM TO USE IN YOUR HOMEWORK
CROUCHING TIGER: READ ALL OF THE ARTICLES AND SEE ALL LINKS ABOVE. SUMMARIZE WHAT YOU'VE LEARNED FROM YOUR RESEARCH AND FROM THE CHOP SOCKY DOCUMENTARY (if there's no chop socky group). DID YOU LIKE THE DOCUMENTARY? WHY? WHY NOT? DISCUSS THE ICONOGRAPHY, CHARACTERS, VALUES, PHILOSOPHY, SETTING, COSTUMES, AND CONVENTIONS OF THE CHOP SOCKY/ACTION GENRE. HOW DID CROUCHING TIGER... UTILIZE THE ICONOGRAPHY AND CONVENTIONS? GIVE EXAMPLES and QUOTES FROM THE FILM.
ANSWER THE QUESTIONS BELOW IN YOUR RESPONSE/REVIEW/ANALYSIS:
- See directions and questions above for articles and links and complete the conventions and iconography info. The following questions will help you understand the values, themes, and philosophy:
- What values do the Wudan masters teach their pupils? How is it influenced by the WU XIA genre and Confucian and jiang hu philosophy and values? Use quotes to explain the values and theme of the film.
- What does the sword symbolize? What does it give to those who fight with it?
- How would you describe the women in the film? Jen’s character? What lessons did she have to learn? Who is the Tiger? Who is the Dragon? Explain. Why did Li Mu Bai have such a strong desire to teach Jen?
- What happens when you get too attached to the material world? What is the solution, according to Li Mu Bai? Use quotes.How do you obtain anything worth having?
- Could Li Mu Bai have become the master that he was if he had pursued a relationship with Shu Lien?
- “Promise me one thing: whatever path you take in life, be true to yourself.” What does Shu Lien mean when she says this to Jen? What is the path of ‘the way’ that the women seem to find?
- Why did Jen have to leave Lo in the end? What made her jump?
- Discuss the look of the film? Choose one scene and explain the cinematography, setting, mise scene, costumes, lighting, and camera work.
- What is the purpose of the fight scenes? Discuss the action and style of editing through the fighting. Choose one fight sequence and explain the editing, music, sound, camera work, and special efx. In China, bamboo symbolizes righteousness. What is the fight between Li Mu Bai and Jen really about?
- Discuss the code of the heroes. What does each value? What is each of the characters searching for? Do they show concern for the afterlife? What is their priority – now or the future? What does each sacrifice? Why?
- Write a review for the film.
hero.pdf | |
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AVATAR RESOURCES YOU MUST USE FOR YOUR HOMEWORK BELOW:
http://www.deepfocusfilmstudies.com/avatar-not-in-kansas-any-more---plot--genre.html
http://filmstudiesforfree.blogspot.com/2010/01/i-see-you-on-avatar-and-allegory.html
https://thescriptlab.com/screenplay/genre/science-fiction
http://fandomania.com/movie-discussion-avatar-and-genre/
http://www.sfsite.com/columns/amy26.htm
http://www.filmsite.org/sci-fifilms.html
http://www.filmsite.org/warfilms.html
http://en.wikipedia.org/wiki/War_film
http://www.clydewilliams.com/page5/page22/page22.html
http://www.tor.com/blogs/2009/12/fantasy-vs-science-fiction-james-camerons-ligavatarlig
http://haudcerto.wordpress.com/2012/01/02/avatar-an-analysis-of-the-2009-cameron-film/
http://haudcerto.wordpress.com/2012/01/02/avatar-an-analysis-of-the-2009-cameron-film/
avatar_essay.pdf | |
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avatar.pdf | |
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http://fandomania.com/movie-discussion-avatar-and-genre/
http://en.wikipedia.org/wiki/Adventure_film
Codes and Conventions of Action Adventure Films
Narrative led films with tightly woven story arcs, where the dialogue drives the plot rather than builds character.
An action adventure film is essentially one long quest with a succession of different chase sequences, each one more death defying and seemingly impossible than the one before. The trick for the producers is to ramp up the tension as the film progresses to a storming end sequence. Will our intrepid explorers make it, or will the evil antagonist get there first.
A strong story ark of a quest for treasure, or an incredibly valuable object, or an item which has occult power.
Love interest that both hinders and supports the main quest.
A fast moving narrative with constant set backs that are overcome one by one, leading to fairly complex plots.
In many respects this genre of films derive their energy from being more exciting, more adult and much more dangerous versions of children’s stories of adventure such as Enid Blighton’s Famous Five or Arthur Ransome’s Swallows and Amazons.
Thrilling action where the protagonist saves his fellow travellers through a variety of non realistic but apparently logical escapades.
CHARACTERS & LOCATIONS
AVATAR HOMEWORK (use a minimum of 5 sources above in your answers):
1.How many genres/styles in can you find in AVATAR (science fiction? fantasy? action/adventure? war? western? epic?). See the links, text, and essays above. Explain the conventions/iconography from each of the genres represented in the film-give examples of each.
Use the questions on the 2 pdfs for help you understand the philosophical issues and problems raised in the film because of science or lack of science on Earth. What values (political, religious, social, philosophical) are portrayed in the film? Any conflicts or statements made about our own society, government, or worldview? You must use quotes and cite your source.
3. Complete a film review (like you did for The Artist above). Use several examples and quotes from the film to support your opinions. See the videos comparing Avatar to Pocohantas (on the bonus features page). Is it true?
EXTRA CREDIT PARODY ASSIGNMENT: Watch the parodies shown in class (MAFIA, KUNG PAO, OTHERS) and explain how the parody pokes fun at the conventions, iconography, characters, values, conflicts, etc of the genre. Use specific scenes and examples from the films.
Narrative led films with tightly woven story arcs, where the dialogue drives the plot rather than builds character.
An action adventure film is essentially one long quest with a succession of different chase sequences, each one more death defying and seemingly impossible than the one before. The trick for the producers is to ramp up the tension as the film progresses to a storming end sequence. Will our intrepid explorers make it, or will the evil antagonist get there first.
A strong story ark of a quest for treasure, or an incredibly valuable object, or an item which has occult power.
Love interest that both hinders and supports the main quest.
A fast moving narrative with constant set backs that are overcome one by one, leading to fairly complex plots.
In many respects this genre of films derive their energy from being more exciting, more adult and much more dangerous versions of children’s stories of adventure such as Enid Blighton’s Famous Five or Arthur Ransome’s Swallows and Amazons.
Thrilling action where the protagonist saves his fellow travellers through a variety of non realistic but apparently logical escapades.
CHARACTERS & LOCATIONS
- These are not realistic films, although the characters must be believable. They are set in a stereotypical world of the not too distant past e.g the 1930s, or the fictional world of storybook adventures e.g. The high seas of the 19th century.
- A main protagonist who is a normal guy, and who just happens to have amazing powers of endurance in the face of extreme danger, and is also very clever. Indiana Jones is an archaeology lecturer in an US university. Captain Jack Sparrow is at first an ordinary good for nothing pirate with incredible agility and luck, although he later takes on supernatural powers.
- There are always helpers who are a team of innocent characters who happen to get caught up in the action.
- Humorous dialogue often diffuses taught and sometimes frightening situations.
- The characters take the twist and turns of the plot very seriously as they are often in mortal danger from an assortment of unusual animals, machines and monsters orchestrated by an evil antagonist.
- Exotic locations where the characters have to contend with extremes of climate, as well as evil forces.
- The aim is to please the audience by keeping them on the edge of their seats through a series of mind boggling chases, exotic locations and hair raising adventures in historically inaccurate but somehow elementally possible settings.
- Action Adventure films are designed to create an action-filled, energetic experience for the audience who can live vicariously through the exotic locations, conquests, explorations, struggles and situations that confront the main characters.
AVATAR HOMEWORK (use a minimum of 5 sources above in your answers):
1.How many genres/styles in can you find in AVATAR (science fiction? fantasy? action/adventure? war? western? epic?). See the links, text, and essays above. Explain the conventions/iconography from each of the genres represented in the film-give examples of each.
- Characters/Goodies? Baddies?
- Heroes-Code of the hero?
- Scenarios/Conventions in Plot
- Iconography
- Setting/Lighting
- Values/Conflicts
- Cinematic Techniques
Use the questions on the 2 pdfs for help you understand the philosophical issues and problems raised in the film because of science or lack of science on Earth. What values (political, religious, social, philosophical) are portrayed in the film? Any conflicts or statements made about our own society, government, or worldview? You must use quotes and cite your source.
3. Complete a film review (like you did for The Artist above). Use several examples and quotes from the film to support your opinions. See the videos comparing Avatar to Pocohantas (on the bonus features page). Is it true?
EXTRA CREDIT PARODY ASSIGNMENT: Watch the parodies shown in class (MAFIA, KUNG PAO, OTHERS) and explain how the parody pokes fun at the conventions, iconography, characters, values, conflicts, etc of the genre. Use specific scenes and examples from the films.
FOR EXTRA CREDIT WATCH ONE OF THE BEST FILMS BY GENRE http://abcnews.go.com/entertainment/best_film/greatest
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