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Film History
FMS 1013 Final
| Term | Definition |
|---|---|
| Lumiere Brothers | official birth date of movies (1895) when the Lumiere brothers joined the ability to record a sequence of images on a flexible, transparent medium, and the capacity to project the sequence |
| Vaudeville | Theatrical genre of variety entertainment, series of separate, unrelated acts grouped together on a common bill |
| Edwin S Porter | employee of Thomas Edison, synthesized continuity editing techniques in the service of storytelling. One of the most important films in the historical development of cinema, Porter's "The Great Train Robbery" (1903) tells its story in 14 separate shots |
| Nickelodeons | Early movie theaters where short films were shown continuously for five cent admission price, prominent until the rise of the feature film demanded more comfy settings |
| James Young Deer | First Native American filmmaker/producer in Hollywood, influential force in the production of one-reel Westerns during the silent era, portrayed Native Americans in positive light |
| Feature Film | Running typically form 90-120 minutes in length, a narrative film that is the primarily attraction for audiences |
| Giovanni Pastrone | Italian film director/screenwriter/actor during silent film era, invented and patented the carrello (carriage), a mobile camera in his movie "Cabiria" |
| D.W. Griffith | 1908 known for developing classical editing style and is associated with the use of crosscutting or parallel editing |
| Slapstick Comedy | Films known for physical humor and stunts; some of the first films were slapstick comedies |
| Harold Lloyd | Famous American film actor and producer famous for his silent comedies, ranked as one of the most popular and influential film comedians of the silent film era, best known for his character "Glasses" |
| German Expressionism | Creative movements beginning in Germany before WWI that reached its peak in the 1920's- German silent film was arguably far ahead of cinema in HWood, influenced HWood films, style, technique, seen in Hitchock |
| F.W. Murnau | One of the most influential German film directors of the silent era and a prominent figure in the German Expressionism movement, best known for "Nosferatu" |
| Soviet Cinema | Russian Revolution- distance form the assumptions and aims of the capitalist economics of HWood resulted in 1. emphasis on documentary and historical subjects 2. a political concept of cinema centered on audience response |
| Sergei Eisenstien | Soviet Russian film director and theorist, pioneer in the theory and practice of montage, noted in particular for his silent films "Strike" and "Battleship Potemkin" |
| Vertically Integrated Studio | Between the 1920's-50's American film industry was led by the most powerful, fully integrated Big Five studies which produced and distributed films and also operated their own movie theatres |
| The Big Five | MGM, Warner Brothers, 20th Century Fox, Paramount Pictures, RKO |
| The Little Three | Universal Studios, Columbia Pictures, United Artists |
| MPDAA | Motion Pictures Distributions Association of America- movie studio boss organization formed by US politician Will H. Hays |
| Production Code | Set of industry moral censorship guidelines that spelled out what was acceptable and unacceptable content for motion pictures from 1930-68, referred to as the Hays Code, after HWood's chief censor at the time, William hHays |
| William Hays | Hays Code for censorship of American films, chairman of the Republican National Committee, US Postmaster General, first president of the MPDAA |
| Senator Joseph McCarthy | Example of the film industry being targeted for its capacity for ideological influence during the Red Scare, congressional investigation of Communist infiltration of the film industry in 1940's |
| House Un-American Activities | Investigation committee of the US House of Reps created to investigate alleged disloyalty and subversive activities on the part of citizens, employees, and organizations suspected of having Communist ties; film industry targeted |
| David Sarnoff | American businessman and pioneer of American radio and television, led the Radio Corporation of America (RCA), negotiated successful contracts to and from RKO |
| Photophone | Telecommunications device, which allowed for the transmission of speech on a beam of light, invited by Alexander Graham Bell and Charles Sumner tainter |
| David O Selznick | American film producer and film studio executive, best known for producing "Gone With the Wind" and "Rebecca" both earning Academy Awards for best picture |
| George Schaeffer | Movie producer and once the president of RKO when "Citizen Kane" was made, top executive at United Artists, fired from RKO because of a controversy surrounding Orson Welles second film |
| Charles Koerner | Former head of the RKO theatre chain, he assumed the title of production chief prior to Schaefer's departure, he brought the studio much needed stability until his death |
| Val Lewton | American film producer and screenwriter best known for a string of low-budget horror films he produced for RKO pictures in the 40's |
| Howard Hughes | A maverick film producer, gained prominence in HWood from the late 20's making big budget and often controversial films (Scarface), took over RKO in 1948 until he lost control and the studio declined |
| Italian Neo-Realism | Looking at the middle, underclass in a very natural way |
| French New Wave | Group of youthful French filmmakers in the 1950's-60's who desired to shoot more current social and political issues, experimented with new film form, radical experiments with editing, visual style and narrative |
| Francois Truffaut | French film director, screenwriter, producer, actor, and film critic as well as one of the founders of the French new wave, icon of French film industry |
| New Hollywood | Late 1960's-early 1980's when a new generation of young filmmakers came to prominence in America influencing filmmaking: director took authorial role, youthful, fresh, energized, sexuality, passion for the artistic value of film |
| Blockbuster | Sustains widespread popularity and achieves enormous sales |
| Steven Spielberg | American film director, screenwriter, producer, early sci fi and adventure films were archetypes of modern HWood blockbuster filmmaking, later addressed humanistic issues (Holocaust, slave trade, war), most popular and influential filmmakers |
| George Lucas | American film director, screenwriter, and producer, created "Star Wars", one of the American film industry's most financially successful filmmakers |
| Postmodernity | Late 20th century movement, departure from modernism, attempts to subvert the mainstream conventions of narrative structure, characterization and destroys the audience's suspension of disbelief |
| Quentin Taratino | American film director, screenwriter, producer: films have been characterized by nonlinear story lines, satirical subject matter, and glorification of violence, known to mix&match genre and music morphing a variety of old works to new ones (Pulp Fiction) |
| Digital Video | Type of digital recording system that works by using a digital rather than an analog video signal (1970's-1980's) |
| Evolutionary Model | Theory that film culture develops through advancing forces that, over time, create more efficient, powerful, attractive, or sophisticated films |
| Masters and Masterworks Model | film history seen as a history of great individuals and their works, driven by human desires and idea, these works become recognized for their unique artistic value that transcends their historical context and unique role as key moments in film history |
| Periodization | Theory in which the Hollywood timeline is divided into segments that describe groups of years during which movies share thematic and stylistic concerns |
| Alice Guy Blache | French filmmaker, first woman director in the motion-picture industry and is one of the first directors of fiction films |
| Dorothy Arzner | American film director, her directorial career in feature films spanned from the late 1920's-early 40's, throughout that time she was the only woman working in the field |
| Amy Heckerling | American film director, she has had a commercially successful career with films including "Fast Times at Ridgemont High" "European Vacation" and "Clueless" |
| Oscar Micheaux | American film director and independent producer of more than 44 films, first African American feature filmmaker, most successful AA filmmaker of the first half of 20th century and most prominent producer of race films, silent films and "talkies" |
| Blaxploitation | Film genre that emerged in the US in the 1970's, considered an ethnic sub genre of the general category of exploitation films, originally made specifically for an urban black audience but its appeal soon broadened across racial and ethnic lines |
| Melvin Van Peebles | American actor, director, and screenwriter: most famous for creating the acclaimed film "Sweet Sweetback's Baadasss Story" which heralded a new era of African-American focused films |
| Spike Lee | American film director, producer, writer, and actor: movies examined race relations, colorist in the black community, the role of media in contemporary life, urban crime and poverty, and other political issues |
| Chris Eyre | Native American film director and producer: films focus on contemporary Native American life, with a rejection of conventional stereotypes |
| George Cukor | American film director: mainly concentrated on comedies and literary adaptations, directed several of RKO's major films |
| James Whale | English film director, theatre director, and actor: best remembered for his four classic horror films "Frankenstein" "The Old Dark Horse" "The Invisible Man" "Bride of Frankenstein" |
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lucemygoose