Monday, December 3, 2007
Last Extra Credit Opportunity
Everyone will receive 5 extra credit points if all students fill out the SOIS evaluations. You have until Wednesday, 12/5.
Monday, November 26, 2007
Tuesday, November 20, 2007
Two examples of mockumentaries... or one?
Blair Witch Project
Cloverfield
At first I thought Cloverfield was an example a mockumentary, albeit not of the satirical flavor, however I'm not convinced anymore that it fits the bill, per se. Yes, the characters do break down the fourth wall and acknowledge the camera's presence, and the film exhibits the same handheld, "home movie" feel as Blair-Witch.... heck, even techniques of Cinéma-vérité can be seen, but I believe Cloverfield is just a fictional story told through the first person perspective of a character holding a camera. What does anyone else think?
You can watch the full-length Cloverfield trailer @ Apple Trailers.
Cloverfield
At first I thought Cloverfield was an example a mockumentary, albeit not of the satirical flavor, however I'm not convinced anymore that it fits the bill, per se. Yes, the characters do break down the fourth wall and acknowledge the camera's presence, and the film exhibits the same handheld, "home movie" feel as Blair-Witch.... heck, even techniques of Cinéma-vérité can be seen, but I believe Cloverfield is just a fictional story told through the first person perspective of a character holding a camera. What does anyone else think?
You can watch the full-length Cloverfield trailer @ Apple Trailers.
Monday, November 19, 2007
Viewing Questions for Fast, Cheap, and Out of Control (Erroll Morris, 1997)
1. What do Dave, George, Raymond, and Rodney have in common?
2. What effects do Erroll Morris’s montages achieve?
3. Describe the elements of the narrative. That is, how are the stories told? How do the stories interact to create larger themes? What are those themes?
4. What are the effects of juxtaposing the voice over of one story over the video of another story (for example: Raymond’s naked mole-rat colony description voiced over images of George’s circus)?
5. What are the universal (i.e., shared among all) characteristics of each of the men’s areas of expertise?
2. What effects do Erroll Morris’s montages achieve?
3. Describe the elements of the narrative. That is, how are the stories told? How do the stories interact to create larger themes? What are those themes?
4. What are the effects of juxtaposing the voice over of one story over the video of another story (for example: Raymond’s naked mole-rat colony description voiced over images of George’s circus)?
5. What are the universal (i.e., shared among all) characteristics of each of the men’s areas of expertise?
Friday, November 16, 2007
The Mockumentary, according to Christopher Guest
--This Is Spinal Tap
--Best in Show
--Waiting for Guffman
Sunday, November 11, 2007
Viewing Questions for The Public Enemy (William A. Wellman, 1931)
1.Note specific scenes where you see the Production Code in operation.
2. What kind of character is Tom Powers? Mike Powers? Ma Powers? Matty?
3. How is this a national story? What kind of America does Public Enemy show us?
4. What role does gender play in the movie?
The Underworld (1927)
The Public Enemy trailer
The Public Enemy trailer parody (with deleted footage)
2. What kind of character is Tom Powers? Mike Powers? Ma Powers? Matty?
3. How is this a national story? What kind of America does Public Enemy show us?
4. What role does gender play in the movie?
The Underworld (1927)
The Public Enemy trailer
The Public Enemy trailer parody (with deleted footage)
Scene Analysis assignment
Your assignment is to write a 2-3 page analysis that focuses on mise-en-scène, camera angles and position, and the relevance of the particular scene to the rest of the film. Make a brief but coherent argument about the ways in which the formal elements of the scene shape or intensify the film’s drama or themes. Do not use plot summary.
You will want to view the scene several times, taking as detailed notes as possible. Some shorthand that might help (see your glossary for definitions of the terms):
cu close-up
xcu extreme close-up
ms medium shot
fs full or long shot
ps pan shot
ts tilt shot
s/rs shot/reverse shot
X cut
lt long take
crs crane shot
trs tracking shot (use arrows to indicate the direction that the camera tracks)
la low angle
ha high angle
After you annotate the scene accordingly, describe these annotations in precise, clear prose. Describe the conclusions you draw or interpretations you make about the sequence and their relevance to the film as a whole (be sure to note where the scene occurs in the movie). Then revise into a clear analysis of the scene. Don't forget to use correct character names!
Be sure to pay careful attention to the clarity of your writing.
1. Grammar: Have you eliminated misspellings and punctuation errors?
2. Syntax: Have you eliminated unnecessary passive constructions, using vivid verbs
throughout? Remember: avoid using weak “to be” verbs (am, are, is, was, were, be, being, been) as well as “other” weak verbs such as get and got, go and went. Have you used words clearly and correctly, avoiding: 1) non-descript phrases such as “a lot”; 2) the overuse of “I feel, believe, etc.”; and 3) the use of “you” in your prose? Have you avoided dangling modifier and homonym errors?
3. Format: Be sure to use 12 point Times New Roman Font, make your margins 1” all around, and double space.
Choose one of the following scenes to analyze (if none of these suit you, it is up to you to find a short scene [1-2 minutes long] from any of the movies we have watched/will watch this semester):
You will want to view the scene several times, taking as detailed notes as possible. Some shorthand that might help (see your glossary for definitions of the terms):
cu close-up
xcu extreme close-up
ms medium shot
fs full or long shot
ps pan shot
ts tilt shot
s/rs shot/reverse shot
X cut
lt long take
crs crane shot
trs tracking shot (use arrows to indicate the direction that the camera tracks)
la low angle
ha high angle
After you annotate the scene accordingly, describe these annotations in precise, clear prose. Describe the conclusions you draw or interpretations you make about the sequence and their relevance to the film as a whole (be sure to note where the scene occurs in the movie). Then revise into a clear analysis of the scene. Don't forget to use correct character names!
Be sure to pay careful attention to the clarity of your writing.
1. Grammar: Have you eliminated misspellings and punctuation errors?
2. Syntax: Have you eliminated unnecessary passive constructions, using vivid verbs
throughout? Remember: avoid using weak “to be” verbs (am, are, is, was, were, be, being, been) as well as “other” weak verbs such as get and got, go and went. Have you used words clearly and correctly, avoiding: 1) non-descript phrases such as “a lot”; 2) the overuse of “I feel, believe, etc.”; and 3) the use of “you” in your prose? Have you avoided dangling modifier and homonym errors?
3. Format: Be sure to use 12 point Times New Roman Font, make your margins 1” all around, and double space.
Choose one of the following scenes to analyze (if none of these suit you, it is up to you to find a short scene [1-2 minutes long] from any of the movies we have watched/will watch this semester):
Jesus Camp--another extra credit opportunity
Analysis/summary worth 6-8 points. Due to me in class by 11/19
Monday, November 5, 2007
Bladerunner viewing questions
“Quite an experience to live in fear. That’s what it is to be a slave”
1. What is Bladerunner’s vision of capitalism? That is, what does the film do with familiar brands? Which can you identify? What role do they play in the film?
2. What is the production design of the movie? Describe noticeable sets, the general “look” of the film.
3. What are the replicants like? Name them and list their major characteristics.
4. What do photographs represent in this film?
5. What allusions does this movie make to literary or religious texts?
1. What is Bladerunner’s vision of capitalism? That is, what does the film do with familiar brands? Which can you identify? What role do they play in the film?
2. What is the production design of the movie? Describe noticeable sets, the general “look” of the film.
3. What are the replicants like? Name them and list their major characteristics.
4. What do photographs represent in this film?
5. What allusions does this movie make to literary or religious texts?
Sunday, November 4, 2007
Chaplin
This is my first post. This is for any Charlie Chaplin/ Old movie fans. Its spoken in Italian and plays with Hitler. Still funny even if you don't understand what they are saying:)
Tuesday, October 30, 2007
Spiderwalks
Spiderwalk cut from our version of The Exorcist:
link
The original that was not included in final cut:
link
The original that was not included in final cut:
Sunday, October 28, 2007
The Exorcist screening questions
1. Pay close attention to the film's introductory scene and location. Why is it significant?
2. Note the liminal settings of the film--list as many as you see.
3. Note the geographical location of the opening scene. Why is it significant?
4. Describe Regan's family and her mother's job. What is significant about it?
5. How does cinematic language depict "evil"?
2. Note the liminal settings of the film--list as many as you see.
3. Note the geographical location of the opening scene. Why is it significant?
4. Describe Regan's family and her mother's job. What is significant about it?
5. How does cinematic language depict "evil"?
Exam 2 Review
1. Post your answers by noon on. Friday (November 2, 2007). This includes taking care of any problems with blogger.com before then.
2. Document your answers (cite page numbers from textbook [Prince 14], date of class lectures, webpages consulted, etc.). Use your own words, and do not plagiarize.
3. Be concise and accurate. If you are wrong, then the whole class could get the answers wrong.
4. Sign your name at the beginning of the assignment. I don't know the nicknames you used to join the blog.
5. This exercise is worth 10 participation points. You will be evaluated in accuracy, timeliness, and your ability to follow directions. I will consider awarding 1-3 extra participation points for those who go above and beyond your assignment and/or complete the assignments of absent classmates.
6. It is wise to be a cooperative member of the classroom community for this review. However, if your classmates fail you, you are still responsible for reviewing all of these assignments.
7. Your exam will consist of providing definitions, multiple-choice, and short-answer (lists are preferable to sentences, which take longer to construct).
8. Hyper-linking to other classmates’ answers that relate to yours will enhance this study guide. To hyperlink, you right-click on the time of your classmates’ post and select “copy link.” In your own blog post, highlight the term you are hyperlinking, (e.g., Westerns, wikipedia, etc.), click on the hyperlink icon (it will have a tiny chain—not available in safari), and when the field comes up, enter the html address you have copied.
9. You may need to revisit certain scenes in the films to answer these questions.
10. You will do better on the exam if you cross-check your classmates’ answers with your own notes from your film notebook.
Films covered: The Conversation, The Searchers, O Brother, Dr. Strangelove, and The Exorcist.
Will Angel
Define frontier mythology and point to 2-3 scenes in The Searchers that depict it.
Eric Anthony
Define “convention” and describe the conventions of the Western. Explain how they function in specific scenes of The Searchers.
Stephen Battise
Define the three fundamentals of film sound and the three types of film sound. Give examples from each film.
Hillary Bauer
Define the captivity narrative. Be sure to include its racial and gendered characteristics.
Elisa Bizzotto
Define the three functions of film sound and explain how they function in each film.
Maxwell Brooke
Explain how production design creates meaning in 3 separate films.
Courtney Burbick
Define the dimensions of film sound. Give examples from each film.
Andrew Chandler
Describe the basics of sound engineering. Briefly explain how The Conversation depicts sound engineering.
Meredith Clough
Give examples of ambient sound, leitmotif, direct sound, sound bridge, realistic sound, and synthetic sound from each film covered in this exam.
Michael Combs
Describe the functions of movie music. Give examples from each film covered in this exam.
Scott Councilman
Define the basic elements of narrative structure. As you define them, give examples from each of the films covered in this exam.
Alan Crews
Define the conventions of the classical Hollywood narrative. Point to examples in each film covered in this exam.
Chelsea deMonch
Describe the basic conventions of the musical and explain what “typically American” values it celebrates. Briefly explain if O Brother conforms to these conventions and celebrates these values—and if so, how?
Lallie Jones
Explain how O Brother is concerned with authenticity in terms of music. How does the film play with the concept? Use specifics
Ellen Kalbaugh
Explain how O Brother plays with authenticity in terms of adaptation. Be specific.
William Linton
Explain how O Brother plays with authenticity in terms of theme. Be specific.
Tina Mackenzie
Describe the relationship between faith and reason in The Exorcist
Brandon Mathis
According to the article we read, why are horror movies in the seventies so concerned with the demonic child? Give examples from The Exorcist.
John McHone
Describe the tone that the opening sounds and setting sets for The Exorcist. In other words, explain the significance of the foreign location at the film’s beginning and the contrast it sets with the setting of the rest of the film.
Daniel McLamb
Explain how The Exorcist develops the theme of liminality in the film.
Jeremy Menzel
Describe the conventions of the horror film as defined by the book and point to at least three specific scenes/characters in both The Conversation and The Exorcist that exhibit these conventions.
Erinn Navarro
Describe the mise-en-scene of three separate scenes in three separate films and explain what meaning it adds to each film.
Katie Neubeiser
Define and identify 3 specific film angles that Dr. Strangelove uses to emphasize or satirize something about the character within the shot.
Derek O’Bryan
Describe Peter Sellers’ three characters in Dr. Strangelove and explain what each brings to the film.
Crystal Packard
Describe the production design of The Exorcist and explain the meaning it brings to the film.
Chris Pitts
Briefly analyze one scene/image from The Conversation and describe the greater theme from the movie that it dramatizes.
Mary Kirk Pollard
Explain the implicit or explicit references to the Vietnam war that The Exorcist and Dr. Strangelove make.
Daniel Reutzel
Is The Conversation an example of Classical Hollywood narrative? Point to all of the conventions in your response.
Will Russ
Explain what social issues The Exorcist examines and how.
Carter Thompson
Explain what social issues Dr. Strangelove examines and how.
Xue Vang
Explain what the beginning and end of Dr. Strangelove achieve.
Sara Veale
Explain what how Dr. Strangelove satirizes contemporary attitudes about sexuality.
Nate Watson
Briefly analyze one scene/image from The Searchers and describe the greater theme from the movie that it dramatizes.
Jessica Wynn
Briefly analyze one scene/image from The Conversation and describe the greater theme from the movie that it dramatizes.
2. Document your answers (cite page numbers from textbook [Prince 14], date of class lectures, webpages consulted, etc.). Use your own words, and do not plagiarize.
3. Be concise and accurate. If you are wrong, then the whole class could get the answers wrong.
4. Sign your name at the beginning of the assignment. I don't know the nicknames you used to join the blog.
5. This exercise is worth 10 participation points. You will be evaluated in accuracy, timeliness, and your ability to follow directions. I will consider awarding 1-3 extra participation points for those who go above and beyond your assignment and/or complete the assignments of absent classmates.
6. It is wise to be a cooperative member of the classroom community for this review. However, if your classmates fail you, you are still responsible for reviewing all of these assignments.
7. Your exam will consist of providing definitions, multiple-choice, and short-answer (lists are preferable to sentences, which take longer to construct).
8. Hyper-linking to other classmates’ answers that relate to yours will enhance this study guide. To hyperlink, you right-click on the time of your classmates’ post and select “copy link.” In your own blog post, highlight the term you are hyperlinking, (e.g., Westerns, wikipedia, etc.), click on the hyperlink icon (it will have a tiny chain—not available in safari), and when the field comes up, enter the html address you have copied.
9. You may need to revisit certain scenes in the films to answer these questions.
10. You will do better on the exam if you cross-check your classmates’ answers with your own notes from your film notebook.
Films covered: The Conversation, The Searchers, O Brother, Dr. Strangelove, and The Exorcist.
Will Angel
Define frontier mythology and point to 2-3 scenes in The Searchers that depict it.
Eric Anthony
Define “convention” and describe the conventions of the Western. Explain how they function in specific scenes of The Searchers.
Stephen Battise
Define the three fundamentals of film sound and the three types of film sound. Give examples from each film.
Hillary Bauer
Define the captivity narrative. Be sure to include its racial and gendered characteristics.
Elisa Bizzotto
Define the three functions of film sound and explain how they function in each film.
Maxwell Brooke
Explain how production design creates meaning in 3 separate films.
Courtney Burbick
Define the dimensions of film sound. Give examples from each film.
Andrew Chandler
Describe the basics of sound engineering. Briefly explain how The Conversation depicts sound engineering.
Meredith Clough
Give examples of ambient sound, leitmotif, direct sound, sound bridge, realistic sound, and synthetic sound from each film covered in this exam.
Michael Combs
Describe the functions of movie music. Give examples from each film covered in this exam.
Scott Councilman
Define the basic elements of narrative structure. As you define them, give examples from each of the films covered in this exam.
Alan Crews
Define the conventions of the classical Hollywood narrative. Point to examples in each film covered in this exam.
Chelsea deMonch
Describe the basic conventions of the musical and explain what “typically American” values it celebrates. Briefly explain if O Brother conforms to these conventions and celebrates these values—and if so, how?
Lallie Jones
Explain how O Brother is concerned with authenticity in terms of music. How does the film play with the concept? Use specifics
Ellen Kalbaugh
Explain how O Brother plays with authenticity in terms of adaptation. Be specific.
William Linton
Explain how O Brother plays with authenticity in terms of theme. Be specific.
Tina Mackenzie
Describe the relationship between faith and reason in The Exorcist
Brandon Mathis
According to the article we read, why are horror movies in the seventies so concerned with the demonic child? Give examples from The Exorcist.
John McHone
Describe the tone that the opening sounds and setting sets for The Exorcist. In other words, explain the significance of the foreign location at the film’s beginning and the contrast it sets with the setting of the rest of the film.
Daniel McLamb
Explain how The Exorcist develops the theme of liminality in the film.
Jeremy Menzel
Describe the conventions of the horror film as defined by the book and point to at least three specific scenes/characters in both The Conversation and The Exorcist that exhibit these conventions.
Erinn Navarro
Describe the mise-en-scene of three separate scenes in three separate films and explain what meaning it adds to each film.
Katie Neubeiser
Define and identify 3 specific film angles that Dr. Strangelove uses to emphasize or satirize something about the character within the shot.
Derek O’Bryan
Describe Peter Sellers’ three characters in Dr. Strangelove and explain what each brings to the film.
Crystal Packard
Describe the production design of The Exorcist and explain the meaning it brings to the film.
Chris Pitts
Briefly analyze one scene/image from The Conversation and describe the greater theme from the movie that it dramatizes.
Mary Kirk Pollard
Explain the implicit or explicit references to the Vietnam war that The Exorcist and Dr. Strangelove make.
Daniel Reutzel
Is The Conversation an example of Classical Hollywood narrative? Point to all of the conventions in your response.
Will Russ
Explain what social issues The Exorcist examines and how.
Carter Thompson
Explain what social issues Dr. Strangelove examines and how.
Xue Vang
Explain what the beginning and end of Dr. Strangelove achieve.
Sara Veale
Explain what how Dr. Strangelove satirizes contemporary attitudes about sexuality.
Nate Watson
Briefly analyze one scene/image from The Searchers and describe the greater theme from the movie that it dramatizes.
Jessica Wynn
Briefly analyze one scene/image from The Conversation and describe the greater theme from the movie that it dramatizes.
Extra Credit
Though I have never offered extra credit before, I am going to offer a few opportunities to earn a few extra points. There will be a written component, and you will need to be able to post to the blog to earn the points. You may specify whether you would like the points to be added to your exam grade or participation assignment grade.
--attend the film panel of the ECU Humorfest on Nov. 1 from 1-3. You will need to write a clear summary of each panel presentation and post it to the blog within 1 week (0-8 available points).
--attend a viewing of the Russian-German Collaborative Film Series, the Hispanic Film Series, the Medieval and Renaissance Studies Film Series, or the "Breakdowns and Breakthroughs" Honors Film Series. You will need to analyze the mise-en-scene of a specific scene and describe how it creates meaning within the film or choose a dominant theme within the film and describe in detail how it operates in the film. Each analysis will be due within one week of the screening (0-5 available points).
--attend the theater performance of Catch-22 (cost: $10) and compare its depiction of war to Dr. Strangelove. The analysis will be due one week after the performance (0-10 available points).
--attend the film panel of the ECU Humorfest on Nov. 1 from 1-3. You will need to write a clear summary of each panel presentation and post it to the blog within 1 week (0-8 available points).
--attend a viewing of the Russian-German Collaborative Film Series, the Hispanic Film Series, the Medieval and Renaissance Studies Film Series, or the "Breakdowns and Breakthroughs" Honors Film Series. You will need to analyze the mise-en-scene of a specific scene and describe how it creates meaning within the film or choose a dominant theme within the film and describe in detail how it operates in the film. Each analysis will be due within one week of the screening (0-5 available points).
--attend the theater performance of Catch-22 (cost: $10) and compare its depiction of war to Dr. Strangelove. The analysis will be due one week after the performance (0-10 available points).
Friday, October 26, 2007
Thursday, October 25, 2007
"7,714 Movies and Counting"
Here's an interesting study of one man's movie history. What is your movie history, and what does it say about you?
Monday, October 22, 2007
Dr. Strangelove, or How I Learned to Love the Atomic Bomb
Viewing questions for DR. STRANGELOVE:
1. Look at the timeline and consider how this film depicts race? How do you interpret the film's depiction of race during this period of racial strife?
2. Briefly describe the production design of the major locations for the scenes.
3. This film makes distinctive use of camera position. Make note of at least 3 different angles and what meaning each conveys.
4. Chater 4 dicusses unique body language that acting can convey. Make note of Peter Sellers' 3 characters and what each's body language conveys.
5. How do fears of Communism manifest themselves in this film? What forms do they take?
6. What kind of character is Lionel Mandrake? Is President Merkin Muffley? Is Dr. Strangelove?
7. What kind of character is Brig. Gen. Jack D. Ripper? Is Maj. T.J. "King" Kong? Is. Gen. 'Buck" Turgidson? Is Miss Scott?
8. How do you interpret the role of the only female in the film?
1. Look at the timeline and consider how this film depicts race? How do you interpret the film's depiction of race during this period of racial strife?
2. Briefly describe the production design of the major locations for the scenes.
3. This film makes distinctive use of camera position. Make note of at least 3 different angles and what meaning each conveys.
4. Chater 4 dicusses unique body language that acting can convey. Make note of Peter Sellers' 3 characters and what each's body language conveys.
5. How do fears of Communism manifest themselves in this film? What forms do they take?
6. What kind of character is Lionel Mandrake? Is President Merkin Muffley? Is Dr. Strangelove?
7. What kind of character is Brig. Gen. Jack D. Ripper? Is Maj. T.J. "King" Kong? Is. Gen. 'Buck" Turgidson? Is Miss Scott?
8. How do you interpret the role of the only female in the film?
Wednesday, October 17, 2007
O Brother, Where Art Thou (2000)
Sing to me of the man, Muse, the man of twists and turns
driven time and again off course, once he had plundered the hallowed heights of Troy
Click here for a summary of the Odyssey.
1. Which characters/scarios in O BROTHER appear to be updates of the following characters/scenarios from THE ODYSSEY?
Odysseus
Telemachus (Odysseus' son)
Penelope (Odysseus' wife)
Polyphemus (the Cyclops)
Circe (a witch who turns Odysseus's men into pigs)
The Sirens (the temptresses who lure men to their death with song)
Tireseus (the old blind prophet)
The Lotus Eaters (a race of people whose primary food is lotus, a narcotic making them apathetic and zombielike, and which temporarily lures in O's men)
The slaughter of the cows of Helius (the men slaughter cows belonging to the god, who demands vengeance from Zeus)
2. How or why have the Coen brothers updated these characters? Why are theose changes significant?
3. If you were not familiar with the text of THE ODYSSEY, would you understand the film differently? How does knowing the original story enhance and/or detract from your viewing experience?
4. What ist he effect of setting this story during the Great Depression and in the Deep South? How does this particular setting help to set up the story of THE ODYSSEY?
driven time and again off course, once he had plundered the hallowed heights of Troy
Click here for a summary of the Odyssey.
1. Which characters/scarios in O BROTHER appear to be updates of the following characters/scenarios from THE ODYSSEY?
Odysseus
Telemachus (Odysseus' son)
Penelope (Odysseus' wife)
Polyphemus (the Cyclops)
Circe (a witch who turns Odysseus's men into pigs)
The Sirens (the temptresses who lure men to their death with song)
Tireseus (the old blind prophet)
The Lotus Eaters (a race of people whose primary food is lotus, a narcotic making them apathetic and zombielike, and which temporarily lures in O's men)
The slaughter of the cows of Helius (the men slaughter cows belonging to the god, who demands vengeance from Zeus)
2. How or why have the Coen brothers updated these characters? Why are theose changes significant?
3. If you were not familiar with the text of THE ODYSSEY, would you understand the film differently? How does knowing the original story enhance and/or detract from your viewing experience?
4. What ist he effect of setting this story during the Great Depression and in the Deep South? How does this particular setting help to set up the story of THE ODYSSEY?
Tuesday, October 9, 2007
Key terms, ch. 7, pp. 230-63
You will be responsible for these terms on the next exam. Be sure to define them and come to Friday's class with questions if you need clarification.
actuality
story
plot
the fictive stance
real author
implied author
point of view
subjective shot
classical Hollywood narrative
explicit causality
implicit causality
antinarrative
suspense
surprise
genre
convention
deviant plot structures
actuality
story
plot
the fictive stance
real author
implied author
point of view
subjective shot
classical Hollywood narrative
explicit causality
implicit causality
antinarrative
suspense
surprise
genre
convention
deviant plot structures
Monday, October 8, 2007
Viewing Questions for The Searchers (John Ford, 1956)
Click here to see cast and other information.
1. Before watching the film, watch the the trailer and jot down what some observations about what kind of story you anticipate.
2. Pay close attention to the opening and closing shots. How do you interpret them in relation to the movie as a whole?
3. What kind of character is Ethan? Is Martin? What motivates their actions?
4. As a war veteran, what does Ethan's character tell us about how war can change a person?
5. What kind of character is Scar? What does his character tell us about the portrayal of "Indians" in the Western?
6. How does the landscape act as a character? That is, how does it perform important functions in the movie?
7. What kind of character is Mose? What does he bring to the film?
8. How do you describe the role of women in the western, as embodied by Laurie, Debbie, and the nameless white women?
9. How does the Western define masculinity? Give examples.
10. How does The Searchers mediate fears of Communism in America?
1. Before watching the film, watch the the trailer and jot down what some observations about what kind of story you anticipate.
2. Pay close attention to the opening and closing shots. How do you interpret them in relation to the movie as a whole?
3. What kind of character is Ethan? Is Martin? What motivates their actions?
4. As a war veteran, what does Ethan's character tell us about how war can change a person?
5. What kind of character is Scar? What does his character tell us about the portrayal of "Indians" in the Western?
6. How does the landscape act as a character? That is, how does it perform important functions in the movie?
7. What kind of character is Mose? What does he bring to the film?
8. How do you describe the role of women in the western, as embodied by Laurie, Debbie, and the nameless white women?
9. How does the Western define masculinity? Give examples.
10. How does The Searchers mediate fears of Communism in America?
Thursday, October 4, 2007
Example of the three uses of sound
I don't remember how I ran across this scene; it is a bit corny but it shows the three uses of sound in film - dialogue, sound effects, and music - all of which seem to play pivotal roles in this clip. Around the 2:20 mark, the music will change to include dissonant notes to create unease. The Psycho clip also uses dissonance to create a sense of uneasiness during the stabbing scene but the musical stylings are different.
Opening scene of X-Men 2 (2003)
Monday, October 1, 2007
Friday, September 28, 2007
Midterm Review Assignment: DUE at NOON on SATURDAY
ENGL2900 Midterm Review
Fall 2007
1. Post your answers by noon on. Saturday (September 29, 2007). This includes taking care of contacting me with any problems with blogger.com before then.
2. Document your answers (cite page numbers from textbook [Prince 14], date of class lectures, webpages consulted, etc.)
3. Be concise and accurate. If you are wrong, then the whole class will get the answers wrong.
4. Sign your name next to your assignment as an indication that you will complete your task.
5. This exercise is worth 10 participation points. You will be evaluated in accuracy, timeliness, and your ability to follow directions. I will consider awarding 1-3 extra participation points for those who go above and beyond your assignment and/or complete the assignments of absent classmates.
6. It is wise to be a cooperative member of the classroom community for this review. However, if your classmates fail you, you are still responsible for reviewing all of these assignments.
7. Your exam will consist of providing definitions, multiple-choice, and short-answer (lists are preferable to sentences, which take longer to construct).
8. Hyper-linking to other classmates’ answers that relate to yours will enhance this study guide. To hyperlink, you right-click on the time of your classmates’ post and select “copy link.” In your own blog post, highlight the term you are hyperlinking, (e.g., Nosferatu, French New Wave, etc.), click on the hyperlink icon (it will have a tiny chain—not available in safari), and when the field comes up, enter the html address you have copied.
9. You may need to revisit certain scenes in the films to answer these questions.
10. You will do better on the exam if you cross-check your classmates’ answers with your own notes from your film notebook.
Will Angel
Define the three functions of color cinematography and the three characteristics of color. Give examples from Nosferatu.
Eric Anthony
Explain how Casablanca demonstrates the conventions of Classical Hollywood Cinema. Point to specific scenes and characters.
Stephen Battise
Describe the different kinds of shot “joins.” Give examples from the films we’ve viewed.
Hillary Bauer
Define motif and identify one or more in at least 3 of the films we’ve watched.
Elisa Bizzotto
Define jump cut and how it functions in French New Wave and Soviet Montage
Maxwell Brooke
Explain how production design creates meaning in 2 scenes of Citizen Kane.
Courtney Burbank
Describe the 3-point lighting system. Give examples of where it has and has not been used in the films we’ve seen.
Andrew Chandler
Briefly describe how Citizen Kane is about both Orson Welles and William Randolph Hearst
Meredith Clough
Provide a historical explanation for the rise of French New Wave.
Michael Combs
Describe the technical innovations that enabled the development of French New Wave.
Scott Councilman
Describe the basic plot of Breathless and what events it is based on. Describe the impact of the film’s resolution.
Alan Crews
Explain what the characters of Ilsa, Rick, Victor, Strasser, and Renault symbolize.
Chelsea deMonch
Describe the opening of Casablanca and how it initiates the development of the film’s major themes.
Lallie Jones
Explain how Nosferatu is concerned with knowledge and what different characters do with knowledge.
Ellen Kalbaugh
Explain how Citizen Kane depicts yellow journalism and the Spanish-American War.
William Linton
Name the conventions of Soviet montage and briefly describe how they function in three scenes/images of Potemkin.
Tina Mackenzie
Describe specific images in Potemkin and explain their symbolic significance to that period of Russian history.
Brandon Mathis
Definitions: persistence of vision, ADR, grayscale, letterbox, pan-and-scan, pan and tilt, aspect ratio, stylization, explicit and implicit ideology (give examples), shot-reverse-shot, method acting, technical acting, archetype, mise-en-scéne, 180-degree rule, boom/crane shot, rack shot, deep focus.
John McHone
Explain the differences between realistic lighting, practical lighting, and pictorial lighting and between diegetic and non-diegetic
Daniel McLamb
Explain the impact of World War II on American and European cinema.
Jeremy Menzel
Describe how lighting creates meaning in at least 2 scenes of Citizen Kane.
Erinn Navarro
Explain why we study film today. Why do we watch films that are not necessarily “enjoyable” for a 21st-century audience?
Katie Neubeiser
Define and identify 4 examples of German Expressionism in Nosferatu
Derek O’Bryan
Definitions and examples of (in any of the films we’ve viewed): high angle, low angle, canted angle, medium shot, long shot, establishing shot. Give examples.
Crystal Packard
Explain the function of horror films and how Nosferatu exhibits this function.
Chris Pitts
Explain how internal structure time differs from story or narrative time and running time. Give at least 3 examples from the films we’ve seen.
Mary Kirk Pollard
Briefly describe what occurs in the three stages of film production. Describe the different responsibilities of the director, producer, cinematographer, editor, and production designer.
Daniel Reutzel
Define the conventions of Classical Hollywood Cinema. Give examples from Casablanca.
Will Russ
Describe the significance of the scene where Ellen sits by the seaside in Nosferatu. Use specific details of the mise-en-scéne.
Carter Thompson
How is Breathless self-reflexive? Name at least 2 scenes that are self-reflexive and briefly describe their significance to the rest of the movie.
Xue Vang
Explain the differences between hard and soft lighting and between perceptual transformation and perceptual correspondence
Sara Veale
Explain how the main and subplots are resolved by the end of Casablanca.
Nate Watson
Describe the conventions of French New Wave and provide at least 4 examples from Breathless.
Jessica Wynn
Describe a specific sequence of images in Potempkin and their relevance to the rest of the film and its themes.
Fall 2007
1. Post your answers by noon on. Saturday (September 29, 2007). This includes taking care of contacting me with any problems with blogger.com before then.
2. Document your answers (cite page numbers from textbook [Prince 14], date of class lectures, webpages consulted, etc.)
3. Be concise and accurate. If you are wrong, then the whole class will get the answers wrong.
4. Sign your name next to your assignment as an indication that you will complete your task.
5. This exercise is worth 10 participation points. You will be evaluated in accuracy, timeliness, and your ability to follow directions. I will consider awarding 1-3 extra participation points for those who go above and beyond your assignment and/or complete the assignments of absent classmates.
6. It is wise to be a cooperative member of the classroom community for this review. However, if your classmates fail you, you are still responsible for reviewing all of these assignments.
7. Your exam will consist of providing definitions, multiple-choice, and short-answer (lists are preferable to sentences, which take longer to construct).
8. Hyper-linking to other classmates’ answers that relate to yours will enhance this study guide. To hyperlink, you right-click on the time of your classmates’ post and select “copy link.” In your own blog post, highlight the term you are hyperlinking, (e.g., Nosferatu, French New Wave, etc.), click on the hyperlink icon (it will have a tiny chain—not available in safari), and when the field comes up, enter the html address you have copied.
9. You may need to revisit certain scenes in the films to answer these questions.
10. You will do better on the exam if you cross-check your classmates’ answers with your own notes from your film notebook.
Will Angel
Define the three functions of color cinematography and the three characteristics of color. Give examples from Nosferatu.
Eric Anthony
Explain how Casablanca demonstrates the conventions of Classical Hollywood Cinema. Point to specific scenes and characters.
Stephen Battise
Describe the different kinds of shot “joins.” Give examples from the films we’ve viewed.
Hillary Bauer
Define motif and identify one or more in at least 3 of the films we’ve watched.
Elisa Bizzotto
Define jump cut and how it functions in French New Wave and Soviet Montage
Maxwell Brooke
Explain how production design creates meaning in 2 scenes of Citizen Kane.
Courtney Burbank
Describe the 3-point lighting system. Give examples of where it has and has not been used in the films we’ve seen.
Andrew Chandler
Briefly describe how Citizen Kane is about both Orson Welles and William Randolph Hearst
Meredith Clough
Provide a historical explanation for the rise of French New Wave.
Michael Combs
Describe the technical innovations that enabled the development of French New Wave.
Scott Councilman
Describe the basic plot of Breathless and what events it is based on. Describe the impact of the film’s resolution.
Alan Crews
Explain what the characters of Ilsa, Rick, Victor, Strasser, and Renault symbolize.
Chelsea deMonch
Describe the opening of Casablanca and how it initiates the development of the film’s major themes.
Lallie Jones
Explain how Nosferatu is concerned with knowledge and what different characters do with knowledge.
Ellen Kalbaugh
Explain how Citizen Kane depicts yellow journalism and the Spanish-American War.
William Linton
Name the conventions of Soviet montage and briefly describe how they function in three scenes/images of Potemkin.
Tina Mackenzie
Describe specific images in Potemkin and explain their symbolic significance to that period of Russian history.
Brandon Mathis
Definitions: persistence of vision, ADR, grayscale, letterbox, pan-and-scan, pan and tilt, aspect ratio, stylization, explicit and implicit ideology (give examples), shot-reverse-shot, method acting, technical acting, archetype, mise-en-scéne, 180-degree rule, boom/crane shot, rack shot, deep focus.
John McHone
Explain the differences between realistic lighting, practical lighting, and pictorial lighting and between diegetic and non-diegetic
Daniel McLamb
Explain the impact of World War II on American and European cinema.
Jeremy Menzel
Describe how lighting creates meaning in at least 2 scenes of Citizen Kane.
Erinn Navarro
Explain why we study film today. Why do we watch films that are not necessarily “enjoyable” for a 21st-century audience?
Katie Neubeiser
Define and identify 4 examples of German Expressionism in Nosferatu
Derek O’Bryan
Definitions and examples of (in any of the films we’ve viewed): high angle, low angle, canted angle, medium shot, long shot, establishing shot. Give examples.
Crystal Packard
Explain the function of horror films and how Nosferatu exhibits this function.
Chris Pitts
Explain how internal structure time differs from story or narrative time and running time. Give at least 3 examples from the films we’ve seen.
Mary Kirk Pollard
Briefly describe what occurs in the three stages of film production. Describe the different responsibilities of the director, producer, cinematographer, editor, and production designer.
Daniel Reutzel
Define the conventions of Classical Hollywood Cinema. Give examples from Casablanca.
Will Russ
Describe the significance of the scene where Ellen sits by the seaside in Nosferatu. Use specific details of the mise-en-scéne.
Carter Thompson
How is Breathless self-reflexive? Name at least 2 scenes that are self-reflexive and briefly describe their significance to the rest of the movie.
Xue Vang
Explain the differences between hard and soft lighting and between perceptual transformation and perceptual correspondence
Sara Veale
Explain how the main and subplots are resolved by the end of Casablanca.
Nate Watson
Describe the conventions of French New Wave and provide at least 4 examples from Breathless.
Jessica Wynn
Describe a specific sequence of images in Potempkin and their relevance to the rest of the film and its themes.
Wednesday, September 26, 2007
Nosferatu
I was poking around youtube and I kept finding clips of this scene where Ellen refers to Hutter as "Jonathon". What is this all about. Also, just thought it was cool how they used shadows with Count Olaf, and the way he moved soooo slow was creepy.
Streaming movies and TV
Courtesy of John McHone, a website that streams movies and television for free. He mentioned that some links are dead but lead to other links. Also, he notes South Park is under cartoons.
tv-links.co.uk
tv-links.co.uk
Viewing guidance for Nosferatu
I apologize for the lateness of this post--I've had trouble at home with both my internet and my car.
For Nosferatu, you should be able to describe how different scenes and images exhibit conventions of German Expressionism.
You should also be able to talk about what kinds of archetypal characters Hutter and Ellen are.
Finally, you should be able to discuss changes in cinematography.
For Nosferatu, you should be able to describe how different scenes and images exhibit conventions of German Expressionism.
You should also be able to talk about what kinds of archetypal characters Hutter and Ellen are.
Finally, you should be able to discuss changes in cinematography.
Tuesday, September 18, 2007
Orson Welles' War of the Worlds (part 1)
Courtesy of Tina McKenzie, the first 3 parts of Welles' famous broadcast.
Sunday, September 16, 2007
Citizen Kane Viewing Questions
- Choose one scene and describe in detail its mise-en-scéne.
- How would you describe Charles Kane’s performance style? How would you describe Susan’s?
- How does this film play with temporal order (that is, how does it manipulate events that happened in linear time to build the mystery of Charles Kane)?
- How many perspectives tell the story of Charles Kane? How do they differ?
- What leads to the downfall of Charles Kane?
- Describe the ways that the cinematographer designed the lighting on/in Xanadu. How does it change?
- According to Citizen Kane, how is American “news” produced?
- Pay attention to the camera angles. Describe how a few are used (give brief scene description).
- How does Citizen Kane depict the 30’s?
- How would you characterize the lighting of the film? Be sure to use the terms from your book.
Tuesday, September 11, 2007
Monday, September 10, 2007
Sunday, September 9, 2007
Breathless Screening Questions
Film Facts: This film is the most straight forward and comprehensible of all of Jean Luc Godard’s films. This is also the only film that Godard directed but did not write (it was written by Francois Truffaut, another pioneer of the New Wave style). Keep an eye out for Godard making an appearance in the film as an informer.
Screening Questions:
1. Look for the use of: jump cuts, quick cuts, long takes, sudden changes in camera distance, graphic discontinuities (particularly the lighting). What is their effect on you?
2. What about the film’s conclusion? What happens and what does it all mean? How or why does this ending feel artificial or unsatisfying?
3. Look for references to painting, novels, philosophy, poetry and other films.
4. What is the “plot” of this film? Is it motivated by cause and effect? If not, what drives the film forward?
5. Look for scenes in which important parts of the plot seem to be rushed or cut out?. What is the effect of this? How are these scenes edited?
6. What kind of character is Patricia? What kind of character is Michel? How or why are they different from the characters we encounter in Classical Hollywood films?
7. What scenes take up a lot of the film and yet do not serve to move the narrative forward? How does it feel to watch these scenes?
8. What moments, actions, or themes are repeated in the film (especially in relation to Michel’s behavior)?
9. How or why is this film like film noir? How or why is it like an American gangster film?
10. What exactly is this film about? What is the “point”?
1. Look for the use of: jump cuts, quick cuts, long takes, sudden changes in camera distance, graphic discontinuities (particularly the lighting). What is their effect on you?
2. What about the film’s conclusion? What happens and what does it all mean? How or why does this ending feel artificial or unsatisfying?
3. Look for references to painting, novels, philosophy, poetry and other films.
4. What is the “plot” of this film? Is it motivated by cause and effect? If not, what drives the film forward?
5. Look for scenes in which important parts of the plot seem to be rushed or cut out?. What is the effect of this? How are these scenes edited?
6. What kind of character is Patricia? What kind of character is Michel? How or why are they different from the characters we encounter in Classical Hollywood films?
7. What scenes take up a lot of the film and yet do not serve to move the narrative forward? How does it feel to watch these scenes?
8. What moments, actions, or themes are repeated in the film (especially in relation to Michel’s behavior)?
9. How or why is this film like film noir? How or why is it like an American gangster film?
10. What exactly is this film about? What is the “point”?
Friday, September 7, 2007
Thursday, September 6, 2007
The Green Berets Trailer [1968]
Consider what kind of ideological issues this film's trailer raises.
Battleship Potemkin El acorazado Potemkin with Led Zeppelin
Is viewing the movie any different with a more recognizable soundtrack?
Fall 2007 Film Schedule, ENGL 4980
You are invited to the film screenings for ENGL 4980.
Wed, Aug. 29: Hot Fuzz (2007)
Wed, Sep. 5: The Public Enemy (1931)
Wed, Sep. 12: Double Indemnity (1944)
Wed, Sep. 19: Bonnie and Clyde (1967)
Wed, Sep. 26: A Clockwork Orange (1971)
Wed, Oct. 3: Straw Dogs (1971)
Wed, Oct. 10: The Godfather (1972)
Wed, Oct. 17: Titus (1999, Viewing room TBA)
Wed, Oct. 24: The Corporation (2003)
Tue, Oct. 30: 28 Days Later... (2002, Viewing room TBA)
Wed, Nov. 7: Amores Perros (2000)
Wed, Nov. 14: Kill Bill, Vol. 1 (2003)
Wed, Nov. 21: FILM TBA to be watched over the break
Wed, Nov. 28: Team America, World Police (2004)
All films are screened in Bate 1031 except for Titus and 28 Days Later...
Wed, Aug. 29: Hot Fuzz (2007)
Wed, Sep. 5: The Public Enemy (1931)
Wed, Sep. 12: Double Indemnity (1944)
Wed, Sep. 19: Bonnie and Clyde (1967)
Wed, Sep. 26: A Clockwork Orange (1971)
Wed, Oct. 3: Straw Dogs (1971)
Wed, Oct. 10: The Godfather (1972)
Wed, Oct. 17: Titus (1999, Viewing room TBA)
Wed, Oct. 24: The Corporation (2003)
Tue, Oct. 30: 28 Days Later... (2002, Viewing room TBA)
Wed, Nov. 7: Amores Perros (2000)
Wed, Nov. 14: Kill Bill, Vol. 1 (2003)
Wed, Nov. 21: FILM TBA to be watched over the break
Wed, Nov. 28: Team America, World Police (2004)
All films are screened in Bate 1031 except for Titus and 28 Days Later...
Fall 2007 Film Schedule, ENGL 2900
Click on the links below for more information about the films:
Mon, Aug. 27: Casablanca (1942)
Tues, Sep. 4: Potemkin (1925)
Mon, Sep. 10: Breathless (1960)
Mon, Sep. 17: Citizen Kane (1941)
Mon, Sep. 24: Nosferatu (1922)
Mon, Oct. 1: The Conversation (1974)
Mon, Oct. 8: The Searchers (1956)
Wed, Oct. 17: O Brother, Where Art Thou? (2000)
Mon, Oct. 22: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Mon, Oct. 29: The Exorcist (1973)
Mon, Nov. 5: Blade Runner (1982)
Mon, Nov. 12: The Public Enemy (1931)
Mon. Nov. 19: Fast, Cheap and Out of Control (1997)
Mon. Nov. 26: Apocalypse Now (1979)
All viewings will be held in Bate 1031 starting at 6:30 pm
Mon, Aug. 27: Casablanca (1942)
Tues, Sep. 4: Potemkin (1925)
Mon, Sep. 10: Breathless (1960)
Mon, Sep. 17: Citizen Kane (1941)
Mon, Sep. 24: Nosferatu (1922)
Mon, Oct. 1: The Conversation (1974)
Mon, Oct. 8: The Searchers (1956)
Wed, Oct. 17: O Brother, Where Art Thou? (2000)
Mon, Oct. 22: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Mon, Oct. 29: The Exorcist (1973)
Mon, Nov. 5: Blade Runner (1982)
Mon, Nov. 12: The Public Enemy (1931)
Mon. Nov. 19: Fast, Cheap and Out of Control (1997)
Mon. Nov. 26: Apocalypse Now (1979)
All viewings will be held in Bate 1031 starting at 6:30 pm
Thursday, August 30, 2007
Sunday, August 26, 2007
(Re)Viewing films in the writing lab
ENGL 2900 films will be available for make-up viewing in the Writing Lab in Bate 2005. Click on image at left for details.
Casablanca background and viewing questions
Hi Everyone,
Below you will find two jpg files--one consists of the main actors and brief background, one is the list of viewing questions for Casablanca (1942).
Clicking on each will enlarge it to make it easier for you to print or copy to your own files. Please be prepared to discuss all of the questions and refer to each character by name by Wednesday. See above for the viewing policy on making up film screenings.
Best,
Dr. Froula
Below you will find two jpg files--one consists of the main actors and brief background, one is the list of viewing questions for Casablanca (1942).
Clicking on each will enlarge it to make it easier for you to print or copy to your own files. Please be prepared to discuss all of the questions and refer to each character by name by Wednesday. See above for the viewing policy on making up film screenings.
Best,
Dr. Froula
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