Tuesday, February 22, 2011

Week 5: Foundations of Film Art & Film Theory

Realism vs. Expressionism
-Realism: celebrate raw material
  -film as "recording art"
  -mise-en-scene
-Expressionism: manipulate raw material
  -film as "plastic art"
  -montage
Three things to take into consideration-> Birth of film as art
  1. What technology allows us to do?
  2. Complexity of message itself
  3. What can/will audience receive?
Cinema's Origins
-Shadow puppets, magic lanterns, motion toys
-Reynaud's "theatre optique", Muybridge's horse camera, Morey's photographic gun

Lumiere Brother's: Arrival of a Train Response
-Arrival of a train was very simple and quick, yet would have shocked audiences in its ability to capture a quick moving train.  I found it interesting where the camera was set up and the angle it had when it arrived and the subjects got off.  The front of the train went out of sight, so that the camera had a great view of the riders when getting off in a bustle.

Group discussion: What is art?
-Types/forms: Dance, acting, photography, music, fashion, culinary, film, drawing/painting, poetry
-Creative form of self-expression

Art: Form & Content
Form: Means by which a subject is expressed
Content: Subject of an artwork

Readings:
The readings were really interesting in the fact that I saw how the basis for almost all the foundations of film were created.  I especially loved the quote from Pudvokin which stated, "to show something as everyone sees it, is to have accomplished nothing." There are hundred's of possible ways to express "plastic material" but as Eisenstein stated, "one must try to express one's concepts in clear and vivid visual images".  These elements helped define film as an art and lure in the audience away from other forms of entertainment, ultimately leading film to be (arguably) the most successful art form of all time.

Tuesday, February 15, 2011

Week 4: Genre: Action/Adventure + Romance = the Adventure-Romance

The African Queen (1951)
-Sam Spiegal (S.P. Eagle); 1901-1985
  -Independent producer
-John Huston (1906-1987)
  -Dir/Writer
-Film based on novel by C.S. Forester; 1st hybrid (looks like a studio prod., but actually independent)
Stars:
-Humphrey Bogart & Katherine Hepburn

Crisis in the Hollywood Studio System
-House Un-American Activities Committee (HUAC); targets Hollywood-> "Are you or have you been a member of the communist party?"
-The Hollywood Blacklist ('47-'60's)
  -Huston, Hepburn and Bogart protest the HUAC
-Hollywood Syst. declined in 1940's; end of Hollywood Golden Age

Character Archetypes
-Roles we play in life

African Queen Notes
What characteristics are essential to a Adventure-Romance film, such as in African Queen?
-Charlie & Rose deal with the hero's journey
  -Crisis of the heart in relation to the larger world scope with global stakes at risk
  -Charlie & Rose fall in love and end up sacrificing their love by sacrificing themselves and blowing up the German gun ship
-Good overcomes evil triumphantly in the end
-Rose (Hepburn) is portrayed as a strong female lead capable

Pixar Assignment: Finding Nemo

Finding Nemo (2003)
1. The narrative characteristics of the Action-Adventure genre that are present in Finding Nemo are that of the hero's (at first) reluctance to accept the call to adventure, but then is willing to sacrifice all in order to embark on the hero's journey.  Marlin does this, despite his fear of the ocean in order to save his one and only son, Nemo.  Another aspect that is present in the film is Marlin and even Nemo, encountering more and more ordeals, before anything gets better, and good finally conquering evil.  The characteristics that don't seem to be present in the film is that of the hero dealing with a higher external problem and a larger world scope with global stakes.

2. The characteristics that I see of a Romance genre in Finding Nemo is that of Marlin making the noble sacrifice to save his son at all costs and the journey of the heart in both Marlin, Dori and Nemo.  While there is a great father-son bond as well as a new found friendship between Marlin and Dori, most of the elements such as forbidden love, a larger world scope with global stakes and romance triangles and rivals do not exist in the endearing and fun filled children's film.

3. The central goal or problem that needs to be solved by the main protagonist is Marlin crossing the entire ocean and trying to find Nemo.  Marlin reaches his resolution and finds not only his son, but regains his relationship and trust with Nemo and his new comrade Dori.

4. The secondary goal that needs to be solved throughout the film is Marlin conquering his fear of the ocean and Nemo becoming an able bodied guppy despite is abnormally small fin.

5. Hero's Journey paradigm:
-Call to Adventure-> Nemo swims out to touch the boat and get's caught by a diver.
-Crossing of the Threshold-> Marlin crosses paths with the short term memory loss fish Dori and they encounter a group of vegetarian sharks, whom they barely escape from. (The great white Bruce smelt Dori's bloody nose and went rogue)
-Supreme Ordeal-> Dori & Marlin swim through a sea of jelly fish which almost kills them/Nemo almost dies trying to clog the tank in the dentist's office.
-Road Back-> Marlin & Dori get swallowed by a large whale which spits them out at their desired destination of Sydney Harbor/Nemo successfully clogs the tank.
-Resurrection (Climax)-> Marlin is finally taken by the friendly neighborhood pelican to the dentist's office where Nemo is, only to find Nemo is a plastic bag pretending to be dead, so he can get flushed down the drain which leads to the ocean.
-Return with the Elixir-> Marlin is reunited with his son, realizes that he misses and wants to be Dori's friend and the happy family returns home with their father-son relationship better than ever.

6. Both the first and secondary problems are addressed towards the end of the film, where both Marlin and Nemo realize how much they love each other, and how Marlin can conquer his fears of losing his son and trust Nemo to be capable of doing things on his own. Marlin becomes aware of his pride and trust in his son when he starts talking to Dori about him in the middle of the film. But it isn't until Dori gets caught in a giant net of tuna, that Marlin realizes Nemo can save all the fish if he lets him go into the net and tell the fish to swim down and work together. At the end of the film Marlin's old goal of finding Nemo is accomplished, so his focus now switches to trusting Nemo and allowing him to grow up and realize even with his small fin he can do what any other fish can, if not better.

Friday, February 11, 2011

Week 3: Hero's Journey

Joesph Campbell (1904-1987): Hero's Journey
-Based on rites of passage
-Needs to face death (symbolic or physical); farthest from ordinary world
-By facing death we realize what's worth fighting for

Action Adventure Genre
-A larger world scope with global stakes
-A willing hero accepts the quest
-Hero's problems:
  • Journey of the Higher Cause (External Prob)
  • Journey of Personal Growth (Internal Prob.); often seeking the heart
Raiders of the Lost Ark Clip
-Indiana Jones is a likeable hero that at first rejects the call to adventure, but soon finds that the quest is beyond him, and is a task that he must take to potentially protect mankind.  In the clip we viewed in class, we saw how Indie faces ordeal after ordeal but is willing to sacrifice and serve no matter what, and also how he deals with following his heart (internal problem) with his ex girlfriend.  But as most action-adventure films good triumphs over evil, as Jones is wise enough to have him and Miriam look away from the Ark of the Covenant and survive.

Romance genre
-Root of romance: forbidden love
-A larger world scope with global stakes
-2 problems/goals:
  1. Journey of Higher Cause
  2. Journey of the Heart
-Romance triangle & rival
-Nobel sacrifice-> Heart is often sacrificed for higher cause

Titanic Clip
-The Titanic clips viewed in class showed us how Jack and Rose, both from opposite social standings, kindle their forbidden love and the threat that it poses to Rose's reputation and her crisis of the heart.  It was interesting to see how often there is a love triangle and rivalry in romance genre films as we saw in Titanic.  Jame's Cameron did a great job of adhering to this genre's hero's journey by having Jack make the ultimate sacrifice and allow Rose to stay afloat on the debris as he froze in the water and died. What I wonder and now am going to be looking out for, is whether or not all romance films follow this dramatic quest, and if those who don't are as effective as films like Titanic and the Notebook.

Tuesday, February 8, 2011

Week 1/2: Intro/Aristotle

Aristotle's "The Poetics"
-"A satisfying story, tragedy, is the imitation of an action that is complete and whole & of a certain magnitude."
-"A whole which has a beginning, middle and end."
Aristotle's Dramatic Structure: Beg (Act I)., Middle (Act II) & End (Act III)
-Gustav Freytag (1816-90)
  • Dramatic Pyramid
  1. Exposition: background info
  2. Rising Action: primary & secondary conflicts
  3. Climax: turning point
  4. Falling Action: central conflict moves to resolution
  5. Denouement: "untying the knot"; resolution
Syd Field "Paradigm"
-Act I, Pinch 1, Act II, Pinch 2, Act III

Project Runway Episode
It was interesting to see how a reality show competition (which to most people appears as if it is not staged nor setup in an organized manner) fit the Syd Field Paradigm perfectly.  It goes to show that everything put on television, reality or not, is designed in a way to entertain and engage audiences.

Warner Bros. TV: Writer's Workshop
-Sitcom Paradigm: 2 Act structure
Pilot episode of Frasier: :"The Good Son"
-The "Blow": Hard hitting joke
-Used A & B story for response

Online Article: Game Studies
-It was really interesting seeing how games even use a narratological framework to convey their message and entertain viewers.  The use of time, characters and plot are essentially the same in both film, games and television, thus reinforcing Aristotle's dramatic structure, Freytag's dramatic pyramid, and Warner Bros. writer's workshop.