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Film 25B
Final
| Question | Answer |
|---|---|
| Auteur Theory | The director is the "Auteur", the author of the film. The director has absolute control over the entire process of creating the piece. • Andrew Sarris, miss translated into Auteur theory, authorship theory. Really the auteur policy. |
| Youth Culture | •New generation has the cinetheque, everyone like to talk about film. Industry counts on youth to go and see films. 67-74 Counter cultures films appeal to youth. |
| Cinema Literacy | Characteristic of French New Wave. Knowledge of film history and techniques. Paying constant homage to past. |
| Jump Cut | Editing technique: Either Figures seem to change instantly against a constant background or the background changes instantly while the figures remain constant. |
| Modernist Art Film | o Objective realism o Subjective realism o Authorial commentary |
| Objective Realism | One of the three main qualities in Art Cinema. Episodic slice of life narratives that avoid Hollywood's tight plots. open ended plot lines, where plot lines are left unresolved. |
| Subjective Realism | One of the three main qualities in Art Cinema. Psychological forces that make the individual act in particular ways. Influenced by French Impressionism and German Expressionism. |
| Authorial commentary | A technique that acknowledges the presence of the camera. Film style seems to be suggesting more about the characters than they know or are aware of. |
| French New Wave | 59 - 63: No uniformity of aesthetic, everyone looking for their own style. Being filmed by young people with intense cinema literacy. |
| Left Bank Cinema | Highly intellectual, interested in bringing together all of the arts. Most typically, those not a part of the Cahiers du Cinema group. |
| Cahiers Du Cinema | Prolific French Film magazine. André Bazín, Editor-In-Chief. Included articles from Critics and Filmmakers about notable films, film theories, and noteworthy directors. |
| Kitchen sink cinema | About the lower class. Start attacking controversial subjects. Room at the Top - Kitchen sink film about lower class man raising to the top of a business. Do well internationally, not domestically. (British) |
| Angry Young Man | Group of working class, and middle class novelist and playwrights in England, prominent in the 50's. Critical of society and politics. |
| Hammer Horror | Classic remakes of universal horror films made in England, there was looser censorship which allowed for blood and gore. |
| Swinging London | Rock and roll, pop culture, on par with Paris in terms of style, taking place in London during the 60's. |
| de-Stalinization | When Kruchev comes to power he instigates this policy, dismantling the "Cult of Stalin". A brief thaw happens between 61 - 64 |
| freezes and thaws | Freeze: heavy bureaucracy, slow work, censorship. Thaw: sudden burst of liberalization, western influences are ok. Dangerous times, was used to out “traitors” to the state. |
| Polish "creative film units" | A small unit of film making, tight crews, headed by a director and writer. |
| "market socialism" | rose out of czech new wave 62 -66. Decentralized film system. Cultural renewal, put director/screenwriter at head of production. Production units subsidized by state. |
| Japanese New Wave | Oddity because it starts in the studio system. Trying to create films that appeal to the youth culture. attacked mainstream cinematic traditions, complex flashback structures, experiments with technique. |
| Ethnographic cinema | Jean Rouch. Shows differences among societies, usually an in depth study/view into another culture. |
| Direct Cinema | Ex: Gimme Shelter, David Holzman's Diary. Documentary form of filmmaking in which the construction of the film is revealed to us. Typically, filmmaker is not present on screen, however. |
| Cinema Verite | Ex: Chronicle of a Summer. Documentary form of filmmaking. Filmmaking process is revealed within the construction of the film and filmmaker is present on screen. |
| Personal Documentary | came to prominence during the free cinema movement |
| Free cinema | short lived movement in Britain. Group called for a "free" cinema that would express the directors commitment to deep personal values. Several of the free cinema filmmakers went on to become core or British kitchen sink cinema |
| Auteur documentary | Alan Resnais' Van Gough 1948 (won prize at Venice FF and Academy Award) and NIght and Fog. Chris Marker. Gov't funded films about art and culture. Encouraged experimental filmmaking |
| Crisis structure documentary | films centered on high-stakes situations that need to be resolved in a short amount of time. Drew and Associates (Robert Drew, Leacock, Pennenbaker, the Maysles) |
| Psychodrama | A film in which the psychological effects of the human mind are conceptualized and visualized. Noteworthy example: Maya Deren's, Meshes in the Afternoon (known as "Mother of Avant-Garde Cinema") |
| trance film | • Figure who wanders the world between wakefulness and trance • Visualization of line between consciousness and unconsciousness • Danced is used to blur these lines. Psycho drama. |
| horizontal vs. vertical cinema | Horizontal: A company in one sector of the motion-picture industry gains control over other companies in that sector. Vertical: A practice in which a single company engages in two or more of the activities of the film industry. |
| abstract film | one of 4 major trends of Avant garde filmmaking between 40s and 60s. Includes filming purely abstract design, filming objects in such a way that brings out abstract qualities, organizing images into patterns. Robert Breer, Peter Kubelka, Kurt Kren. |
| experimental narrative | one of 4 major trends of Avant garde filmmaking between 40s and 60s. Can include the psychodrama. Challenges conventional methods of storytelling, non-linear storytelling. |
| Lyrical film | one of 4 major trends of Avant garde filmmaking between 40s and 60s. Stan Brakhage mainly established genre. filmmaker seeks to capture a personal perception or emotion. Film coveys certain mood or sensation without use of narrative structure. |
| experimental compilation film | one of 4 major trends of Avant garde filmmaking between 40s and 60s. Avoids overt message, uses original found footage in satiric or shocking ways. Joseph Cornell's "Rose Hobart" was precursor to this. Include assemblage films. |
| underground/expanded cinema | 1950s and 60s artists began blending mediums, pushing boundaries. un-conventional, non-conformists, embraced by youth counterculture. underground refers to independent or anti-hollywood. Brakhage, Kuchar, Kenneth Anger |
| Hollywood Renaissance | A golden age of art cinema that is mainstream 67-74. Youth culture films, Counter culture. New business model begins, financing low budget art films that make lots of profit. art cinema becomes mainstream cinema |
| New Hollywood | A time during the 60's and 70's, which defined itself by remaking the old. Directors pay tribute to previous film history. updating old genres. |
| the rating system of censorship | Studios loose control over theater's censorship declines. By 66 movies don't worry about a seal of approval. 67 rating system G M R X. |
| the generation gap | 1950's beginning of intense generation gap with method acting films that critique American culture. |
| teenpics | 1950s, rise of drive-ins. Disney started doing adaptation of juvenile literature, rock n roll musicals, science fiction horror, "clean teen" comedies |
| movie brats | Notable Hollywood Filmmakers: Stephen Spielberg, George Lucas, Francis Ford Coppola. |
| the film school generation | A group of film literate filmmakers that self concisely reference past cinema techniques and narratives, due to their education in film schools. |
| packaging the multiplex | Huge boom of multiplex's in the 80's, market became glutted by 2000. |
| American New Wave | Film school educated, counter culture bred, young people oriented. Faster, flashier cutting techniques. Average shot length in Bonnie and Clyde: 4 seconds. |
| tentpole films | when studio invests most of its money into one blockbuster, hoping profits will support studio for rest of the year. Very risky way of doing business. Ex - The Avengers |
| blockbusters | Mainstream films (typically Hollywood) that had both domestic and international appeal to mass audiences. |
| revisionist genre films | revival of old genres by adding contemporary music, themes etc |
| Slasher horror | takes advantage of new ability to represent gore in American cinema; example: Night of the Living Dead, Halloween, Scream franchise |
| long lenses & the zoom lens | Stylistic technique utilized in the New Wave movements. compresses space |
| Cinema Novo | Brazil, young cinephiles began meeting at movie theaters, influenced by hollywood classics and european films, wrote articles calling for a change in filmmaking. similar to french new wave |
| Aesthetic of hunger | cinema of politically/socially oppressed nations should reflect that aesthetic. gritty, handheld, lowbudget. |
| First cinema | the Hollywood production model that promulgates bourgeois values to a passive audience through escapist spectacle and individual characters. |
| Second Cinema | the European art film, which rejects Hollywood conventions but is centred on the individual expression of the auteur director. |
| Third cinema | the view of cinema as a vehicle for personal expression, seeing the director instead as part of a collective; it appeals to the masses by presenting the truth and inspiring revolutionary activism. |
| Politically critical cinema | Cinema used as a political tool to comment on the politics within the society. Soviet/Eastern bloc films: asserted individuality of artist. West Europe/American: Criticized government policies, ed., economics. |
| Western Imperialism | Western political and economic dominance over other societies and cultures. |
| neo-colonialism | Dominance over other societies through economic means. These countries are in debt to their western colonist. |
| exile film | portrays the experience of individuals cut off from their roots and and reflecting on their native country form abroad. mainly african and latin american filmmakers of 60s and 70s |
| diasporic film | Films of dispersion and displacement. result of people from less fortunate countries immigrate to more prosperous countries for work. Sprang from second/third generation immigrants. second generation characters gain access to roots through pop culture. |
| return to the sources | Films characteristic of Subsaharan African Cinema that centralize on themes such as tradition vs. modernity, community vs. individual, and oral traditions to revive the pre-colonial roots of a specific culture |
| guerilla filmmaking | form of independent, low budget filmmaking, scenes often shot quickly without obtaining permission or wanring. radically politically driven |
| Prague Spring | The brief "thaw" in 1967 that gave unprecedented liberal freedoms to prague; ended in a radical authoritarian crack-down on all of the Soviet states in 1969 |
| Detente | Easing of strained relations, especially in political situations. An easing of relations between USSR and US in 70's. |
| engaged cinema | politically engaged cinema, addressing itself to concrete social problems, arguing for radical social change. emerged in 1930s. attempted to create filmmaking collectives. |
| political modernism | took inspiration from Soviet Montage cinema of 1920s, sought to rouse viewer to political reflection or action. combined politically radical themes with radical aesthetics. Godard, Nagisa Oshima |
| Brechtian alienation effect | attacked theatre that tried to absorb audience completely,encouraged spectators to take more detached attitude, employs techniques that call attention to production aspects |
| Young German film | Began in 1965 with the first subsidized productions by Volker Schlondorff, Edgar Reitz, Alexander Kluge, and Werner Herzog. Gained international appeal in the mid-70's and became the New German Cinema. |
| New German Cinema | Started in the 70's and ended with the death of Rainer Werner Fassbinder. Part of the larger European Art Cinema movement since the later 50's, which challenged the dominance of the classical narrative cinema of Hollywood. |
| Television-financed cinema | Starting in the late 70's, especially in a declining Western Europe cinema, most films were funded through media conglomerates and private funding, including TV channels; the most memorable of which include channel 4 (british) |
| counter cinema | refers to the rough grouping of films, film makers, and institutions which attempt to set themselves against the formalist and ideological domination of Hollywood cinema |
| Synthesis documentary | utilizing several/all modes of documentary |
| meta-documentary | 70's and 80's. A reflexive form of doc, it may even scrutinize it's own use of doc conventions. Another form focuses on the impossibility of creating the film originally intended. |
| demystifying documentary | documentaries that concentrated on putting the technical conventions of documentary film making to the forefront; no concentration placed on questioning the power of documentaries, attention placed on the artifice itself |
| documenting injustice | filmmakers in 3rd world utilized new access to equipment. the truth value of their footage was undeniable. Ex - Tiananmen square footage |
| theatrical documentary | 1950s TV began sponsoring documentaries but films shown in theaters contained content that wouldnt normally air on TV, raunchy comedy, rock concerts, political controversy |
| IMAX documentaries | Offered visual and audio quality that could not be matched by home screen. Played documentaries about science, nature and concerts |
| Structural films | reflexive, form centered movement in experimental film. filmmakers concentrated spectators attention on non-narrative shape or system. "Fluxus" group pioneered this. Ex - Serene Velocity, Nostalgia |
| deconstructive films | certain kind of reflexive experimental work; targeted mainstream movie making and aimed to reveal its illusory artifice; often reworked existing footage. Film examples: Costard's "Football as Never Before" and Jacob's "The Doctor's Dream" |
| post-modern assemblage and collage | a.k.a. Postmodern Avant Garde, influenced by Structural, New Narrative, and Punk techniques, soap opera, and film noir. subject matter: childhood trauma + sexual desire i.e. films of Barbara Hammer, Abigail Child, Su Friedrich |
| paracinema | refers to a wide variety of film genres out of the mainstream, bearing the same relationship to 'legitimate' film as paraliterature like comic books and pulp fiction bears to literature. |
| decline of European national cinemas | |
| Film Europe | |
| Europudding | The blending of European films to the point where cultural boundaries are blurred and European films begin to have similar aesthetics and filming qualities. Many countries were opposed to the formation of the EU because of the loss of cultural qualities. |
| revival of Tradition of Quality | |
| Sensibilist cinema | |
| cinema du look | France 1980s, pictorialism cinema, glossy, staurated colors, fast moving, highly artificial cinema. unorthodox plots, chic fashion, drawing on advertising photography and TV commercials |
| Velvet revolutions | Czechoslovakia revolution led by students and others against the communist leadership. 1989. Previously films could be banned and censored due to anti-government attitudes. |
| Polish solidarity movement | Solidarity - union formed by workers 1980, became like the popular front Gov't arrested leaders so the movement went underground. encouraged democracy among other Easter european nations |
| cinema of moral concern | cinema that deals with what's going on morally, ethically, and politically in their country. Example: Gustave Kozlawsky's "Trilogy of Red, White, and Blue" |
| Soviet Stagnation | USSR seeks a detente, a relaxation of Cold War relations, but in exchange, USSR cracks down on any internal dissonance |
| Glasnost | means - confronting errors of the past. Under Gorbachev citizens were encouraged to discuss failures of Stalins regime. Gave filmmakers unprecedented freedom |
| Perestroika | means - restructuring, rebuilding of Soviet Institutions. Opened up the film industry in major way. |
| managed democracy | a term for a democratic government with increased autocracy; the government has learned to control elections so that the people can exercise all their rights without truly changing public policy; political system in Indonesia (1957-1965) |
| developing world | came about after decline of belief in social change within the third world. more political stability. higher literacy rates. longer life expectancy. Not the U.S., Europe, or U.S.S.R. |
| debtor nations | International Monetary Fund imposed austerity measures on debtor nations-> hunger riots erupted in Brazil, Tunisia, Algeria, and Venezuela. Nations that have invested fewer resources than the rest of the world has invested in them= debtor nation. |
| video piracy | illegal video copies of popular titles emerged on the black market; MPPA began seriously pressuring offendors (China, Russia, etc) in 2005 insisting piracy stole ~$6; piracy threatened theater attendance in developing nations. |
| state funding | Australia, New Zealand, and many European nations had government aid to help film industry production. |
| filmmaking difficulties in the Third World | third world countries suffered coup d'etas, external aggression, civil wars and ethnic strife. film was affected by these events |
| apartheid | South African policy of apartheid- officially sanctioned segregation- ended in 1990 and in 1994 Nelson Mandela became the 1st black president. |
| return to the sources | African film directors seeking to portray the distinctive roots of African culture; Film example: Sembene's "Ceddo" started the movement. |
| Griot | the storyteller (griot)= central figure in many African cultures. Many filmmakers self-consciously modeled narratives and presentation on oral literature (often told by griots). |
| Nollywood | Ultra low budget Nigerian film industry, micro cheap, embraced the cheap video cassette filmmaking |
| Iranian New Wave | counterbalanced the mass-entertainment cinema in Iran; long build up of certain films that are respected. Film examples: "Facets", "The Mirror", "A Moment of Innocence" |
| Child Quest films | films which follow a child on a specific journey to find something/someone or to find themselves. Often symbolizes a change from childhood/dependence to maturity/independence; a way to skirt political tensions, child is used as a surrogate. |
| emergence of Australian and New Zealand cinema | filmmakers were initially able to establish an international reputation because of government subsidies. New Zealand cinema was able to thrive because directors and actors turned down offers from hollywood. 20th century fox built studios in Australia |
| Film Festival Circuit | After videotape (1980s), filmmakers could submit films for previewing and festival proliferated. Now a global distribution system rivaling Hollywood's in quantity and reach. |
| Anime | Japanese animators specializing in feature length science fiction and fantasy cartoons known as anime. Derived from manga, films often feature robots, astronauts, and super heroic teenagers. Examples: Otomo's "Akira" and Miyazaki's "Spirited Away" |
| Japanese horror films | Cult horror films produced in Japan that often drew upon supernatural entities and/or incorporates obscene amounts of blood. Ex: Ringu, Ju-On, The Audition |
| Chinese cultural revolution | 1966-76, prior this time China was one of poorest countries, chairmen Mao began enforcing socialism. China become one of fasted growing economies in history |
| Revolutionary Model Performance Film | these films were versions of stage works that blended modernized Peking opera, somewhat traditional ballet, and revolutionary military subjects. Under Mao, these were the only type of films available in China from 1970-1972. |
| the Fifth Generation | the first graduates of the Beijing Film Academy after it reopened in 1978 having been closed during the revolution. followed generation of filmmakers who worked after communist revolution, 1949. broke with old ideas/traditions, had access to foreign films |
| Shaw Brothers | Hong Kong company that sought to imitate hollywood's vertical integration system, in 1958 built a 46 compound called "movieland". they owned distribution agencies and theatre chains. Pioneered the revision of the martial art film |
| Hong Kong martial arts tradition | Raymond Chow founded Golden Harvest and made films starring Bruce Lee. Lee's films seen in 3rd world often symbolized rebellious pride of insurgent Asia |
| the Megapic | must-see films, event films, can be sold globally, hedged risks for studios after conglomerates took control, heavily marketed, commonly surrounding notion of "high concept" i.e. Jaws, Star Wars, Titanic |
| Synergy | coordination of several compatible business lines to maximize income. used by conglomerates beginning in mid-1980s i.e. t.v. shows, toys, books, records, theme parks, publishing houses, music companies, t.v. networks, cable, satellite firms etc... |
| "winning the weekend" | The term given to the film that performs the best (ticket sales; amount of money grossed) during Box Office Opening Weekend (the first weekend premiere of a film). |
| saturation release | opening a film simultaneously in many theaters. |
| high-concept filmmaking | part of Megapic mentality, films with a clear, attractive, concise pitch, guaranteed audiences would instantly grasp the film's novelty, centerpiece of marketing |
| megaplexing | multiple screen cinemas; Megaplexes created economies of scale: centralized box office, projection booth, and concession stand. Released on so may screens= hits could offset flops. |
| escalating American film budgets and star salaries | era of blockbusters were built on packages and deals bolstered by stars and special effects; larger film budgets and star salaries |
| rise of special effects-driven films | huge rise in action special effects driven films in the 80s. |
| the VCR revolution in audience viewing habits | by 1988, 60 million US households had a VCR. Studios established divisions to make and distribute cassettes. 1987- over 1/2 of revenues came from video rentals and sales. Video income was 2x that yielded from theatrical releases. |
| Reaganomics | fulfilled New Right agendas, relaxed controls on business and trimmed 1960s social programs. |
| the return to vertical integration | Under Reagan and Bush, interpreted Paramount decision (no vertical integration) leniently. 1986-87, Majors bought all theater circuits. In 15 years, all Hollywood major production-distribution companies= absorbed into global media corporations. |
| International dominance of American film industry and strategies of resistance to it | Hollywood commands 1/2 of world's theatrical venues. Strategies: build up foreign investment/ runaway productions; foster local popular cinema; establish coproductions; squeeze films into festivals (where they may be bought by distributors). |
| runaway productions | hollywood could spend "frozen funds" by shooting abroad while lowering labor costs. Mexico, Canada and Eastern Europe most desirable for this |
| intensified continuity | Average length in each shot is shorter; scenes built up by closer framing; more extreme focal lengths; scenes include an increased number of camera moves |
| rise of the Independent film | Video income allowed independents to keep churning out films. To fill multiplex screens, exhibitors willing to show unusual films outside of Majors. Majors bought independent companies or hired indie producers, writers, directors, and stars. |
| DIY filmmaking | "Do-It-Yourself" Filmmaking. Films that were shot outside of formal studio production; main selling points became the unprofessional look of the film and its lack of budget. Ex: Clerks. |
| mumblecore | early 2000s independent movement, focuses on personal stories and gritty aesthetic, low budget, amateur actors |
| the home theatre phenomenon | prices on home theater equipment went down as DVD appeared on market= increased home theaters in US. By 2000, home videos yielded studios $20 billion worldwide, 3X North American box-office income. |
| digital/new media culture | digitized films could be sent to theaters on a hard drive, via satellite, or on Internet. (this meant no more print costs, etc.) Digital presentation at home and multiplexes= reality. |
| globalization | 1980s, banking, automotive, info technology, telecommunications. computer systems could track immediate shifts in prices, currency, supplies of goods. gap between rich and poor widened |
| the rise of multi-national corporations | waves of deregulation encouraged transnational enterprises. by 2000s hollywood almost reached every country. Hollywood joined foreign co's. Sony bought Columbia, Matsushita absorbed Universal. Cinema more available than ever before |
| franchising, branding, merchandizing | Films that could be made into a series of films and parlayed into other revenue streams such as selling toys and other products. The film would become a brand in itself, recognizable and with an established and loyal fan base. |
| multi-plex theatre building boom | By 2000, US had 38,000 screens. Aim was to make multiplexes with comfort and coherent layout/ size. New theaters featured digital sound systems, plush stadium seating, and drink holders. |
| global firms | |
| comprehensive marketing | |
| GATT | General Agreement on Tariffs and Trade---> later becomes the World Trade Organization. |
| fan subcultures, participatory culture | Internet allowed fans to become a community and home videos /DVDs= more access; internet fansites; participatory culture= fans rework media texts they love (make highlights videos, write poems/songs/new stories about characters, etc.) |
| re-appropriation and poaching | |
| digital filmmaking | began in the TV industry; incorporation of digital technology and cameras to speed up the process of filmmaking and allow for experimentation. First embraced by DIY filmmakers, slowly embraced by commercial filmmakers. |
| theatrical conversion to digital | Initial conversion costs very expensive, many were skeptical. after conversion it would lower costs by being able to control projection from single panel. |
| digital distribution and exhibition | Digital distribution allowed for thousands of copies of a film to be produced and sold, domestically and internationally (DVD). Digital Exhibition forced theaters to be equipped with new digital projection systems. |
| pre-visualization | a pre-production process of image planning that can include sketches or blueprints but came to refer to preparing a simple, digitally animated version of a sequence or film |
| animatics | A preliminary version of a movie, produced by shooting successive sections of a storyboard and adding a soundtrack; uses crude animation to set-up the sections portrayed. |
| video assist | allowed shots to be displayed as they were being made; digitally, viewfinders within the camera would relay the image to a computer to be processed. |
| computer generated imagery (CGI) | Images generated by computers; allows films to manipulate the setting and actors of the film. |
| motion capture | The actor is equipped with a suit which records and tracks their various body movements to a computer and allows the filmmaker to digitally manipulate the actor. Ex: Andy Serkis as "Gollum" in Lord of the Rings. |
| telecine | process of transferring motion picture film into video; performed in a color suite. also used to refer to the equipment used in the post-production process. enables images captured originally on film stock to be viewed with standard video equipment. |
| color-grading | traditionally used to even out the look of shots made in different lighting conditions so that they cut together smoothly; color grading was done in the laboratory, using tests, filters, exposure time, and lamp temperature. |
| rendering | Digitally speaking, the application of all forms of special effects into a scene. The amount of time the process takes depends on the amount of special effects in the specific scene/film that is being rendered. |
| non-linear editing | substitutes a video copy of a film for the work print; editors could quickly access any desired shot and could try out alternative versions without physically cutting footage. |
| 3-D Animation | process used for generating animated images by using computer graphics |
| rise of the feature animation genre | |
| Pixar films | Pixar has taken over Disney animated tradition; innovations in 3D effects in animation Example film: Toy Story |
| revival of 3-D filmmaking | 1980s, IMAX shot a number of successful documentaries in 3D. Mid-2000s movies made digitally= 3 options: shoot live-action film with stereo-topic camera; make animated movie in 3-D using CGI; use computer program to convert 2-D film to 3-D film |
| cross over effects of gaming and cinema | Ex: Resident Evil. Filmmaking and Gaming culture become intertwined and movies using CGI start to have a video game appeal while video games using cinematic sequences start to look like films. |
| convergence culture | the ease with which digital formats allowed films, games, music, photos, and text to be combined, manipulated, and shared. |
Created by:
nkkennedy