lecture 10: film theory professor aaron baker. last time: stars movie stars, their images what they...
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Lecture 10:Lecture 10:Film TheoryFilm Theory
Professor Aaron Baker
Last Time: StarsLast Time: Stars
• Movie Stars, Their Images
• What They Are• Why They Matter to
Us • George Clooney
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Today: Film TheoryToday: Film Theory
• What is it?• Different Uses for
Film• Realism• Formalism
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What is Film Theory?What is Film Theory?
4 Lesson 10: Part I
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Filmic Discourses Filmic Discourses
• Film Criticism
• Film History
• Film Theory
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Film Criticism Film Criticism
• Analysis of one or a group of films
• A genre, filmmaker
• Evaluation of meaning, importance
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Film HistoryFilm History
• How film as a medium has developed, changed:
-economically-technologically-socially-aesthetically
Film TheoryFilm Theory
• What Is The Nature of Cinema?
• What It Can Do As A Medium
• How It Communicates Meaning
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Six ModelsSix Models
1. Realist (Formalist)
2. Auteurist
3. Psychoanalytic
4. Ideological
5. Feminist
6. Cognitive
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Each Different ViewpointEach Different Viewpoint
• Realism/Formalist – How films show world
• Auteurist – Who creates film
• Psychoanalytic – How film represents, impacts human development
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Each Different ViewpointEach Different Viewpoint
• Ideological – How film represents, impacts viewers’ beliefs and values
• Feminist – How film represents women
• Cognitive – What is the experience of film viewers
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Realist and Formalist Film Realist and Formalist Film TheoryTheory
12 Lesson 10: Part II
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Focus Today: Realism and Focus Today: Realism and Formalism Formalism
• What is a film’s ability to show the world?• Realism: Film documents reality.• Limited filmmaker manipulation of what
is shown.• Formalism: Filmmaker has to interpret
reality, manipulation of film form allows communication of that interpretation.
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Italian NeorealismItalian Neorealism• Decade After WW II• Italy in Ruins• Real Locations• Non Professional
Actors• Challenges of
Everyday Life for Working People
Bicycle Thieves (1948)
Clip #1: Clip #1: BicycleBicycle Thieves Thieves (1948)(1948)
• Director - Vittorio De Sica• Antonio Ricci (Lamberto
Maggiorani) – Factory Worker
• Post-WW II Rome• Job Requires Bike• Unemployment, Poverty
and Crime
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Andre BazinAndre Bazin• French Theorist• Wrote Influential
Essays in 1940s
and 1950s• Advocated specific
style to preserve film’s realism
Preserve Viewer’s Experience Preserve Viewer’s Experience of Realityof Reality
• Don’t Control Spectator
• Keep Ambiguity in the Image
• Deep Focus Photography
• The Long Take
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Deep FocusDeep Focus
• Deep Space in Focus Before Camera
• Fore-, mid-, background
• Multiple Narrative Areas
• Clip #2 Citizen Kane
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Continuity EditingContinuity Editing• Dominant in Hollywood
Films• Directs Our Attention As
We Watch• Emphasizes Dialogue,
Reaction, Cause and Effect
• Creates Clear Space and Time to Tell Story, Narrative Continuity
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Deep Focus/Long TakeDeep Focus/Long Take
• Deep Focus: Three Planes
• No Editing• Long Take/Time to
Look, Assess:
-What are character motivations, emotions?
-What is best for little Charlie?
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Continuity Editing Ethical? Continuity Editing Ethical?
• Dirty Harry 1971• Det. Callahan
(Eastwood)• Stops Bank Robbers• Establishing Shot• Breakdown• S/RS• Clip # 3
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Do You Feel Lucky Punk?Do You Feel Lucky Punk?• Harry Takes
Control• Restores Justice• Shots Endanger
People on Street?• Editing Focuses
on Harry, Robbers• Emphasizes
Harry’s Heroics
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FormalismFormalism
• Opposite of Realist Film Theory
• Accepts Need for Filmmaker to Interpret What Shows Viewer
• Celebrates Film’s Ability to Influence Audience Emotionally, Intellectually The Underneath, 1998
StyleStyle
• Realism = Lack of Style• Formalism: Use Pattern
of Film Form (Style) to Communicate Ideas, Impact Audience
• Clip #3: The Cabinet of Dr. Caligari (1920)
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ExpressionismExpressionism• Germany 1910’s, 20s• Multi-Art Movement• Expression of Insane
Mind• Dark, Distorted,
Nightmarish Worlds• Influenced Hollywood
(Noir, Horror)
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Stylized FormStylized Form• Expresses Cesare’s
(Narrator’s) Psychosis, Insanity.
• Formalism Communicates Psychological Realism
Summary: Realism and Summary: Realism and FormalismFormalism
• Same Objective: Communicate Insight About the World
• Different Methods: -Realism/Give Audience Direct Access to That WorldVs. -Formalism/Present an Interpretation of It
• Both Emphasize Ambiguity, Complexity• Both Require Viewer Interpretation
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Soviet MontageSoviet Montage
• Political Formalism in USSR
• 1920 First Film School in Moscow
• Socialism: Society with Equal Distribution of Wealth
• Film to Promote This Idea of Society
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Lenin, Soviet Leader:Lenin, Soviet Leader:
• “Cinema is for us the most important of the arts.”
• Challenge of Unifying Soviet Society
• 160 million citizens in USSR
• 100 languages
What Kind of Cinema?What Kind of Cinema?
• Fiction or Documentary?
• Popular Entertainment or Challenging Avant Garde
• Agreed on Power of Editing (Montage) to Construct an Ideology
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Construct a Reality Construct a Reality
• Shots Gain Meaning in Relation to Other Shots
• E.g. Kuleshov Effect• Actor Mojoukine’s
Expression Juxtaposed with—
Soup = Hunger
Baby = Happiness
Coffin = Sadness31
Sergei EisensteinSergei Eisenstein
• Soviet Filmmaker• Intellectual• Studied Literature,
Philosophy, Art, History
• Multicultural Influences: Kabuki Theater, African Sculpture, American Indigenous Cultures
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Eisenstein Starts in Theater of Eisenstein Starts in Theater of AttractionsAttractions
• Like Carnival • Comedy,
Acrobatics, • Shock Spectators• Fire Crackers• Theater is a Plough,
We Need a Tractor[to Change Russian Society].
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Eisenstein’s Dialectical Eisenstein’s Dialectical Montage (Editing)Montage (Editing)
• Discontinuity Editing
• Shots Not Fit Together to Tell Story
• Shots in Conflict
• Based on Dialectic:
-Thesis/Antithesis = Synthesis
• Karl Marx’s Principle of History
-Workers/Owners = Revolution
Battleship Potemkin Battleship Potemkin (1925)(1925)
• Eisenstein’s Historical Film• 1905 Sailors Mutiny on
Black Sea near Odessa• People of Odessa at
Waterfront in Support• Czar’s (Emperor’s) Troops
Violently Suppress Protest
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Odessa Steps SequenceOdessa Steps Sequence• Eisenstein’s Dialectical
Editing Arranges Shotsto Mirror Conflict between People and Czar’s Troops
• Clip #5• Preview of Dialectical
Conflict (Russian People vs. Czar) that Would Cause Revolution in 1917.
Formalism in Formalism in PotemkinPotemkin
• Eisenstein Stylizes Reality/History with Dialectical Editing
• Presents an Interpretation to Audience
• Socialism in Russian Necessary, Justified
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StalinStalin
• Soviet Leader After Lenin• 1935 Ousts Montage
Filmmakers• Labeled Their Films Too
Hard to Understand, Elitist
• Mandated Only Realism in Soviet Films
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SummarySummary
• Film Theory – What Film Can Do
• Realism: Film Can Record, Document the World As It Is
• Formalism: Filmmakers Can Use Stylized Form to Interpret the World
• Eisenstein’s Potemkin as Socialist Formalism
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End of Lecture 10End of Lecture 10
Next Time: Film GenreNext Time: Film Genre